Issue 044 - March 1998 - America's Most Played Party Songs by Mobile Beat Magazine

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Weight: 22 Ibs. /10' Worldwide Headquarters: American DJ® 4295 Charter St. Los Angeles, CA 90058 USA Tel: 213-582-2650 • Fax: 213-582-2610 • e-mail: american@interline.net Canada: Sounds Distribution Tel: 416-299-0665 • Fax: 416-299-2504 • e-mail: sales@soundsdist.com Australia: American DJ Supply, Pty Ltd., Australia Tel: 61 2 9563 6496 • Fax: 61 2 9564 1917 • e-mail: sales@lightsounds.com Mexico: Hermes Trading Co. Tel: 210-781-8472 • Fax: 210-781-7892 Orient: American DJ International™ Tel: 886-2-782-8383 • Fax: 886-2-785-9852 • e-mail: jaltwn@ns2.hinet.net Argentina: KOL RAM Tel: 54-1 375-1177 • Fax: 54-1 952-0310 Germany: GLP - German Light Products Tel: 49 (0) 7248-4429 • Fax: 49 (0) 7248-5718 • e-mail: glpjlght@t-online.de ©1997 American DJ® Los Angeles, CA 90058 USA • Specifications subject to change without notice.

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V TRACK ONE

Mobile

Hie 200-year-old DJ February/March 1998 - Issue #44

The one thing that continues to differentiate Mobile Beat from other DJ publications is our total commitment to professional DJs; a commitment backed by years of experience. In fact, if you combine all the years of experience our staff has had playing the same types of jobs that you do, it's over 200 years! Many of our writers and contributors are still very active, working every weekend to build their businesses, just as you are. It's all this experience that makes it possible for us to give you the most relevant, upto-date information possible. Information that you can only find in Mobile Beat Magazine or access during the seminars at the Mobile Beat DJ Show and Conference. But that's not to say that we're perfect. Even with all those years of DJ experience, we still rely heavily on your feedback, good and bad, to keep us on track. As we start the new year, remember that Mobile Beat is your connection to the profession. It's your link to others just like you who know what it's like to play back-to-back weddings, have an amp turn to toast before a crowd of 200, or suffer through four hours of unreasonable requests from an over demanding client. On the other hand, your fellow readers also share the joys of the profession and the great feeling that comes when a sincere compliment is offered along with the check at the end of the evening. Speaking of 200, this issue features our annual Top 200 list of the songs you said you played the most in 1997; it starts on page 24. Also in this issue is a landslide of equipment reviews (or "Scoops," as we like to call them) for you to feast your eyes on. You might as well get your checkbook out now because there is some definite pieces that say, "Buy me!" By the time you get this, it will be too late to include any on your wish list to Santa, but there's always next year! It may say March on the cover, /but as we put this issue to bed, it's still two weeks to Christmas and five weeks to the Mobile Beat Show in Las Vegas. So while you may have already said your good nights at your last holiday party of the year, it's never too late for one last holiday wish. So from all of us at Mobile Beat here's our hope for your continued success in 1998. Thanks for your continued support of our publication. We look forward to seeing you in Vegas!

EDITOR-IN-CHIEF

Publisher LA Communications Inc. Editor-ln-Chief Robert A. Lindquist Publishing Director Michael Buonaccorso Production Manager Renee Lassial Advertising Sales Manager ArtBradlee Trade Show Manager John Rozz Circulation Stephanie Scott /Dan Walsh Staff Artist Jeff Marinelli Contributing Editors and Writers Ryan Bridges • Henry Collins • Steve Jacob Mark Johnson • Dave Kreiner • Jay Maxwell George Mohr • Bob Popyk • Fred Sebastian Robert Taylor • Steve Wozniak* Thomas Edison How to reach Mobile Beat Magazine For subscriptions, change of address or back issues, you can contact us by mail at: P.O. Box 309, East Rochester, N.Y. 14445 Shipping Address: One Mobile Beat Tower, 1782 Penfield Road, Penfield, NY 14526 tel: (716) 385-9920 fax: (716) 385-3637

or via the Internet: e-mail: mobilebeat@aol.com The Web: http://www.mobilebeat.com Back issues of Mobile Beat Magazine are available (subject to availability) at $5 (In Canada: $6/US funds). All reasonable care is taken to ensure accuracy in the preparation of the magazine, but LA Communications Inc. cannot be held legally responsible for its contents. Mobile Beat Magazine (ISSN 1058-0212) is published seven times per year by LA Communications Inc., P.O., Box 309, East Rochester, N.y 14445. Ground shipments to: 1782 Penfield Road, Penfield, N.y. 14526. Periodical postase paid at East Rochester, N.y. and additional mailing locations. Subscriptions rates -U.S. and possessions: $19.95 for one year or $34.95 for two years. Canada: $24.95 per year. Ail other countries: $50 per year. Subscrip tions outside the U.S. must be paid in U.S. currency. Postmaster - Send address chanses to Mobile Beat Masazine, P.O. Box 309, East Rochester, N.Y. 14445. Copyright © 1998 by LA Communications Inc. All rights reserved. Reproduc tion of copy, photography, or artwork prohibited without permission of the publisher. All advertising material subject to publisher's approval.

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#44 FEBRUARY/MARCH 1998

Mobile

PAGE 24

EQUIPMENT

Mobile Beat's Annual Top 200

In Search Of..........................102 Scoops: SKB Gig Rig............................ 42 Pyramid 8501 mixer...............44 Electronic Bargains ................46 MTX speakers ........................48 Numark amps......................... 56

QSC/Technomad..................... 58 AMS - Franchising..................60 ESO mixer ..............................62 Yamaha QY70 ........................72 EV High-Q............................... 74 BST JMC1600 ........................76

It's Hot................................... 78

MUSIC P.S.W.C.D.T............................. Music News............................ Wolfram Video Chart.............. DMA Top 50 Chart..................

Profile CHRISTY LANE A special preview ofprofessional dancer, choreographer, and special guest at the Mobile Beat DJ Show & Conference, Christy Lane., By Renee Lassial DJ Shopper MID-PRICED MIXERS

You need good phone etiquette to close the sale. By An Bradlee

PERFORMING Tech Talk................................ 52 Nightmares/Historic Affairs .... 121

MANAGEMENT 67

Slip into more comfortably-priced mixers that meet your standards in quality. By Henry Collins Your Business MAKING A CONNECTION

36 84 92 120

Creative Selling...................... 16 Club View............................... 94 Reality check - DVD................ 96

KARAOKE Sing-along Essentials.............. 108

100

ETCETERA Feedback........................ Juice............................... '98 Mobile Beat DJ Show, Ad Index ......................... MOBILE BEAT

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FEEDBACK WAV UNDERTOW I just read Mark Johnson's article "Future Think" where he described many different mediums of storing music such as DAT, CD-ROM and hard drives. He also mentioned that, as of yet, the Internet is not a very viable means of downloading music because a 44.1k song four minutes long would require 40mb of memory and many hours to download. Unfortunately, he failed to mention the growing popularity of the MPEG Layer 3 (MP3) format.

burners can run $300), and the music is available all over the net.

This format has a 10-to-l compression ratio over WAV files with virtually no quality loss. A CD-quality song four minutes long would only take about 20 minutes to download at 33k because the song would be 4mb rather than a WAV file's 40mb. If we were to record music in MP3 format on a CD-ROM we would get 10 hours of music. Not only that, the MP3 format plays on almost all platforms and seems faster than WAV files.

There's one thing, however, that you're overlooking in the new-age of music technology MPEG compression. This is the same stuff (less the video), that is used by DSS satellite dishes to bring digital video/audio to homes. Being compression, it can stuff a whole bunch of CD quality sound into a very small package. The average song on a CD stored in raw WAV audio format on a computer will take approximately 50mb (five-minute song). Compressed with MPEG3 technology, however, this dwindles down to around 4.5mb. This is almost acceptable to download over analog modems of 28.8 speed capability absolutely acceptable for ISDN. I have a CD burner, and I'm able to stuff around 160 songs in pure CD-quality sound onto a regular 74-minute disc. Uncompressed, this would be around 7gb of uncompressed space.

Clint Anderson, Orange, CA 92865

anonymous e-mail

MY FILE'S SMALLER THAN YOURS

TSKTSK

I stumbled upon your [Web] site from a link at Pioneer's site (salivating over their CD mixers). You're right about the CD being the next medium. Burners are getting really cheap (2x

In response to "The Midi Mystery" (November 1997), it's obvious that [the writer] is very impressed with himself. I think it's time that Mobile Beat, once again, run an article that

addresses the illegality of recording music as he is apparently so proud of. The last thing that he should do is brag about having a collection of 2,000 songs recorded on MD and also brag about networking with eight other DJs in his area who also use MD. The latter brag would imply recording each other's music! If I were him, I would be very worried about whether or not the RIAA watch dogs read "Feedback." If DJs continue to flaunt the copyright laws, we will NEVER be able to convince organizations such as the RIAA that we are a law-abiding group and that they should set up a licensing program that would allow us to record a one-time backup of our life blood music inventory. By the way, when 1997 ended I had performed 161 bookings as a single operator, none of them nightclubs or bars, and none of them using an MD or cassette (not brag, just fact). Michael Knudsen, York, PA

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EDITED BY ROBERT A. LlNDQUIST

Juice SOIREE IN SASKATOON It was intended primarily as an event for the members of a local chapter of the Canadian DJ Association; but with over 80 delegates on hand, promoters of the Western Canada DJ Showcase have expanded their goals for next year. The event was held November 14-16 at the Sands Hotel in Saskatoon, Saskatchewan Canada. The Showcase, which was produced by Segue Productions (who also produce the popular spring DJ World show in Waterloo, Ontario) featured 12 exhibitors (from as far away as California and Toronto) and eight

want more education and networking opportunities in this show," added Finlay, "and we are going to expand this role for sure in these shows." (Report filed by Dennis Hampson.)

ADJATOMEETINVEGAS The American Disc Jockey Associa tion will be holding their first annual national membership meeting during the Mobile Beat DJ Show and Conference. The meeting will be held, Tuesday, January 20, 1998 at the show site, the Tropicana Hotel. The meeting will begin promptly at 5:30 p.m. and end at 7 p.m. It will be held in the main meeting room after

The inside scoop on everything that matters highly informative seminars. "This was our first attempt at a Western Canada show and, although the numbers attending were not what we would have liked, we are confi dent we can develop and build a good annual DJ show for DJs in Western Canada," reports Jim Griffin, the show's producer. The seminar package at the show was produced by Ron Finlay of the Canadian DJ Association in Toronto, and was well attended by the del egates. "It is obvious that the DJs

the conclusion of the final Show seminar for the day.

MASTERING THE MIX With digital technology now avail able at every level of the profession, the power to make or break a hit single is in your grasp. Top remixers are grabbing up to 30 grand for a single remix so it's no surprise that the studio is where a growing number of DJs are expressing their creativity. If "master of the remix" is among your career goals, start with a copy of "Remix Mastery" produced by Pro Sound and Stage Lighting of Garden Grove, Calif. The 30-minute video, hosted by Richard Bonnen (a.k.a. DJ Spyderman), will walk you through all the basics of sampling, sequencing and remixing. There's a step-by-step explanation on how a remix is assembled and you'll see demonstra tions of the latest tools in remix

technology from Akai, Ensoniq and Roland. Cost of the video is $29.99 (plus s/h) and can be ordered by calling Pro Sound and Stage Lighting at (800) 945-9300.

RE-RECORDABLE CDS, FINALIY The good news is, you will soon be able to purchase a CD player from Philips with multiple-recording capability for about $600. The bad news is, the discs you record won't play on current CD players. Desig nated as CD-RW (compact discrewritable), the new format employs a phase-change technology which allows them to be recorded, erased and recorded thousands of times. The difference between CD-RW and CD-R (write-once recordable CDs) is in the make-up of the medium. confd page 13 MOBILE BEAT

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TECHNOLOGY

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BY STEVE WOZNIAK

i the Blues Brothers movies (the original and, I vould guess, the new one, Blues Brothers 2000), en Elwood hits the stage at the Palace Hotel, he carries everything he needs to make music (a harmonica) in one small briefcase handcuffed to his arm. Very soon, you, too, may find yourself walking into a gig with all your music in a briefcase. DJPower is a new computer software program created to record and playback CD quality music from a laptop or desktop PC computer. It is designed to be used by mobile/club/dance instructor DJs who desire a high performance music carrier but don't want to cany thousands of CDs to each show. Current minimum system requirements include a Pentium-powered computer, 166 MHz, 12x CDROM, a sound card, and appropriate hard drive space (one gb of hard drive space holds approximately 400 songs).

ON-BOARD STUDIO To record music, a flexible recording studio is available in the software program. Individual songs are digitally extracted from a CD, compressed as regular WAV files, and then recorded onto a computer's hard drive in either mono or joint stereo. Audio playback is achieved at 44.1kHz using a simple drag and drop operation. Songs can be mixed in any order using one of four combinations of fades and drops. The operator has the option to enter song titles into a single data base, or into a number of subdirectories that they title. Additional song informaÂ tion (recording artist, length of song, beats-perminute, style, year released, etc.) can also be included.

VIDEO OPTION As an added bonus, video can be recorded onto a computer's hard drive using the DJPower software

program. Later, this video can be shown at a sales presentation before a potential client. DJPower is currently being used by Mobile DJs in the San Francisco and Silicon Valley area, and by folk dance instructors in the United States and Israel. The software program retails at approximately $1,100 with one year of free upgrades. Discounts are available for multiple copies of the program. Special packages are available for purchasers preferring softÂ ware and hardware setup packages, and recording services. The product was officially released at the Canadian DJ Show held in November, where it won the "Best Technical Product" award. If you missed it there, look for it at the upcoming Mobile Beat DJ Show and Conference in Las Vegas (January 20-22). For additional information regarding the DJPower software program, contact: DJPower, Saied Motaei; tel: (650) 964-5339; e-mail: saied@djpower.com; Web site: www.djpower.com /

MOBILE BEAT

confdfromp.10

With CD-RW, a laser heats selected portions of the recording layer (a polycrystalline comprised of silver, indium, antimony, and tellurium) above its melting point (500-700 degrees centigrade). The crystals liquefy and cool almost instantaneously, leaving a spot that's less reflective than the surrounding area. When played back, the laser interprets the difference the same as the patterns of pits and lands on a standard CD. With each successive re-recording cycle, the laser first erases the existing information by reheating the layer to reform the crystals, like wiping clean a chalkboard. The disc is then ready for the next recording session. The compatibility problem stems from the fact that the photodiodes for reading the CD-RW discs are far more sensitive than those presently installed in CD players. The discs are playable on current CD-ROM and DVD-ROM players, which makes them a viable medium for short-term computer applications. Audiophiles, however, will have to wait for the next generation of CD players to be able to play the discs.

Performed by pianist Danny Wright, selections include Handel's Water Music, Pachelbel's Canon in D Major, Shubert's Ave Maria and Mendelsohn's Wedding March. A great way to say thank you for your business and, when personalized with the name of your service, a terrific way to maximize referrals. Remem ber, no one knows more bridal prospects than the bride you played for last weekend! Wright's keyboard magic is no secret to lovers of good music. The Texas native has beguiled audiences through out the U.S. since the release of his debut album, "Black and White," in 1986. In 1993 and 1994, he was named to Billboard's list of the "Top 10 New Age Artists." For information on "The Ultimate Wedding Collec tion," contact Jana Olson-Collins at Jones & O'Malley at (818)762-8353.

MUSICAL MEMORIES

WINTER BREAK

What better way to engrave the name of your DJ service in the minds of your bridal clients than with a CD of the best wedding music of all-time. "The Ultimate Wedding Collection," is attractively packaged in a hardbound book and has the look and feel of an embossed wedding album.

The 1998 Winter Music Conference will be held March 7-11 at the Fontainbleau Hilton in Miami. For informa tion, call (954) 563-4444.

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CREATIVE SELLING

Getting the fee you want takes a little psychology.

"W" "IT TTien I started selling many years % /\/ ago, I was terrified at quoting a V T price that I knew was on the high side. To make it easier, and to help overcome the fear of waiting for a response, I came up with sort of a cushion for my apprehension. I would quote the price, wait a couple of seconds until it sank into the customer's brain, and then say, "You're probably wonder ing why it's so cheap, aren't you?" Once in awhile I would hear, "Heck no, that's a lot of money." But more often than not, I would hear, "We're really not sure what something like that costs," or "Well, it seems like we get a lot for the price." Both re sponses immediately lead into a discussion of value versus price. Once the shock of the price is past, it's easy to get into features and benefits and asking for the sale. When a customer starts saying things like, "That's a lot of money," or "Your price is too high," your thoughts should go to: "Compared to what?" Are they comparing your fee to the DJ's down the street who only charges half your asking price, but also only offers half the service you do? If that's the case, simply point that fact out. To do this, of course, you have to know your competition.

CASE IN POINT Recently, I stopped in at Saks Fifth Avenue in New York City to buy a couple of black dress T-shirts. You know, the kind worn under neath a blazer for that oh-so trendy look. Back home, the Gap has them for about $15. At J.C. Penney's, they are around $18. Geoffrey Beane charges about $20. On the rack at Saks, however, I could only find satinfinished T-shirts... at a mere $98! I looked at the price tag at least twice to make sure I was seeing clearly. A clerk, who could've been a young Mike Tyson (only with better teeth and diction), came over and I asked him, "Do you have anything else like this?" He said, "Well, if you want something with style, you might try the sixth floor. That's our European collection. The elevators are to the left." So I went up to the sixth floor. I should've known that as you ascend in height, the prices go up, too. There were fashions by all the best-known designers. The prices were the cutting edge of fashion as well. I went over to the Versace display and found a black T-shirt. I picked it up and saw the price tag—$545! I couldn't believe it. A clerk came over (this one looked like Niles from the show "Frasier") and asked if he could be of assis tance. I was still trying to overcome from severe sticker shock. All I could think to say was, "I thought this might be long-sleeved." He instantly produced the same shirt with long sleeves from behind the counter. Of course, it cost a little more—$610. MOBILE BEAT

TOP-DOWN SELLING The $98 T-shirt was looking more and more reasonable, even though just a few minutes ago I thought it was outrageous. So I went back down to see the Mike Tyson look-alike. It was as if he was waiting for me. I told him about the T-shirts I had seen, and he took me over to another section to show me a Saks' line of shirts for $45.1 bought six. It seemed like a steal. He then asked if I had a Saks charge. I didn't. He told me that if I opened one right then, everything I purchased that day would be an additional 10 percent off. So I did. He then suggested a couple of sweaters, a tomato-colored sweater vest... my purchases were piling up. Just when I thought there was nothing else he could suggest, he said, "Hey, where's your umbrella? It's going to rain. Didn't you see the weather forecast?" I said I didn't have one. He said, "Come with me." We went down to the first floor (how expensive could it be, it was on the

Ortofon Niteclub S Black D Cartridge Professional cartridge great for backcueing and

lowest floor?) to the department with umbrellas. He said, "Here, add this on. You need it. With your discount you'll save two bucks." Again, the salesperson made me feel like I was saving money, not spending it. I'd hate to tell you what the bill totaled. If I had gone in and saw a $45 black T-shirt originally, without any assistance, I probably never would have bought anything. The store got my business because they know the secret of "top-down selling." Start at your highest price and work your way down until the client feels they got off easy.

WHAT A DEAL Don't be afraid to tell customers the price for your top-of-the-line pack age. Help them put your price into perspective by comparing it to the cost of a live band. Tell them what they get: fog machines, light towers, confetti guns, karaoke, limitless music selection, non-stop music, etc. Before long, they'll agree that you're offering them a great deal.

99 Designed to be lightweight and very durable. Has 8 spaces on top and 2 spaces on bottom. Many Other Sizes Available!

AMPLIFIERS'RACKS & CASES'MIXERS ^

Bob Popyk is publisher of "Creative Selling©," a monthly newsletter on sales and marketing strategies. Along with being a keynote speaker at the 1998 Mobile Beat DJ Show and Conference, his sales meetings and seminars are presented nationwide to major companies and industries. To request a free sample of his newsletter, call (800) 724-9700.

Crest Vs450 Amplifier

225 waff power rated at 4 ohms. Advanced circuitry with surge/spike protected On/Off switch, clip indicators, variable speed cooling fan and a 5 YEAR WARRANTY! List $590. OOCREST

*425

Grundorf TLR-2SS Rack

I kept thinking about the black Versace T-shirt at Saks so I went back the next day with my camera and took a picture of me with the $545 undershirt. I asked the clerk how he could rationalize the price. He told me that since Gianni Versace was recently murdered, it would hold its value and could conceivably be worth more later. I told the clerk I still thought it too much. He confided in me that it was a little much. He said $395 would have been more in line. The bottom line is, whatever the price, someone out there will pay it—but only if you've got the nerve to ask.

OOAUDIO

American DJ Avenger or Vertigo

The Avenger™ produces 16 beams of multi-color light that rotate back & forth to the beat of the music. The Vertigo™ produces 30 beams of light that rotate & crisscross back & forth to the beat of the music. YOUR CHOICE!

128 57

Numark DM-1635 DJ Mixer with Onboard Beatkeeper Numark Features include: 8 lines, 3 phono, 2 mks., rep/areoi/e aosdader and dual 6 band Ed. LIST $720.

'499

+/adjustm and DIGITAL] OUTPUTS. Also sound track programming and lit displays. Instant Start and 75 frame per sccon counter. mm ^^ ^^ OO List Price $999.00.

599

Stanton 101-HB Single Cup Headphone Single cup headphone with adjustable headband. 12 ft. cord with / /4" jack on end.

American DJ XDM-242 19" Rack Mount Scratch Mixer

189 99

Everything you need without blowing your budget. 2 phono, 4 line inputs with built-in 5-oand EQ.& beat f.ED's.^***' Fully assignable Feather Fader™, plus 2 DJ mics with bass/treble & level controls. List $269

In N.Y. Call: 1-516-667-2 3OO • sagtmavo • SMva i sasvo The DJ Magazine

Showroom Open 7 Days! •! 153 Deer Park Ave., N. Babylon, NY 11703 Or Visit Us on the WEB: www.thedjproshop.com '

FREE! 4-Color DJ Gear Guide Catalog!

AMERICAN DJ RECEIVES ACCLAIM AT LDI

DBASE UPDATE

The special effects created by American DJ Supply stand 1. Numark Industries has moved to a larger facility 10 out even when the event is devoted to the latest in lighting miles south of their former location in Providence, RI. innovations. At LDI (Lighting Dimensions International) The new address is 11 Helmsman Road, North held in October, American DJ was honored with the Kingston, RI 02852. Tel: (401) 295-9000, Fax: (401) prestigious "Light Show of the Year" award in the small 295-5200. booth category. LDI recognized the American DJ show for 2. For quicker access to Pioneer's Web site use: http:// its originality, visual excitement, technological sophistica www.cddj.com tion and choreography that synchronized sound and light. The 10-minute light Third Generation DJ show was built around several new DJs To Go, in Liverpool, N.Y. (near Syracuse) I American DJ products including the Max, been entertaining Central New Yorkers since 1980. an innovative effect that features continu Started by Rich Strage and his son Rich Jr., it has ous 360 degree rotation, DMX-512 been a family run business since its inception. protocol, a high speed shutter (16fps), 120 Recently, Rich Jr. moved to Austin, Texas and took rpm continuous pan, a 60 rpm continuous part of the business with him. His duties at the tilt and strobes in 20 dichroic colors plus homefront were taken over by sister Hillary and white as well as 21 gobos. Also used were husband Cliff. Their daughter, Emma Renee (bom the X-treme/AS, Patend Light, and the last April), will be the third generation of DJs to Snap Shot with DMX/D protocol. For enter the company. more information on the products fea Grandpa Rich Sr. says, "We'll send Emma out on tured in the award winning show as well as her first gig as soon as she stops teething on the the company's complete line contact CDs." Rich predicts that by the time that happens, American DJ Supply at (800) 333-0644. she'll be carrying a laptop computer, modem and compact speakers... a DJ's dream come true.

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PUTTING ON A NEW FACE There's nothing more important than smiling for the crowd. To remind you to put on a happy face, Numark has introduced a smiley face decal for your DM1100, DM1260 or DM2000X mixer. If you'd rather have something a little less '70s, how about the patriotic look of the stars and stripes? Need something with a little more attitude? Choose the snarling guard dog. And if heavy metal and techno are your mix, there's a dusty skull. The peel and stick decals are easy to apply and re-apply and have punch out holes for all the controls. Available from Numark Industries, 11 Helmsman Road, North Kingstown, RI 02852. Call (401) 295-9000 for information or visit the Web site at www.numark.com

MOBILE BEAT

*«••• -»«»

Oiif-speakers are incomparable to BAG END, but...

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Here's the scenario: You walk into your dealer. You ask if they have BAG END speakers. They say "No, but we have speakers that are comparable, but... "But what!» "You say,

ugh bassP

as compact? midle the power? on someone tells you they have a piaker that's "Comparable to BAG END, (L: What they mean is

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For the latest Show updates, visit our Web site: www.mobilebeat.com/djshow/

O)nferenoe LAS VEGAS January 20 â&#x20AC;¢ 21

LAS VEGAS

IHUPILH

Mobile

-f

iy,— January 20, ,

Reystration opens at 8 a.m. Seminars: 10 a.m. - 5 p.m.

SHOWSTARTERS: A Special 3-part presentation! • Part #1 "DJ Show Survival: How to Get i Most Out of this Conference." 2 "Be Worth The Money" How to :e your clients want YOU! 3 Our keynote speaker, Bob Popyk presents..."How to Increase Your DJ Business by 30% - Starting Next Month!" Learn how to maximize every opportunity to increase your bookings and profitability! Also on Tuesday... • "Kids From 2 to 22." Explore all aspects of the youth market, from kid shows, elementary ;• and high school dances, to the college market. • "IceBreakers." Tips and ideas to get your parties started and keeping them going. • "Making Money With Trivia." Create nostalgia events, plus high school reunion tips. • "Problem Solving Forum." A group of experienced profes sionals roundtable with you to troubleshoot DJ dilemmas. • "Tech Tips and System Design." • "Getting Your Price." Part 1. How to put a value on your own worth. • "Motorized Soccer." The world debut of a new

game. Tuesday night 8 p.m. - 12 a.m. Opening Night Party with Super Bowl-bound Nik and the Nice Guys. Nik's act is the ultimate in audience participation! Every DJ will learn tips tonight! Plus! Special guest Christy Lane with a unique interactive medley of dance styles.

Sponsored by American DJ Supply.

Wednesday, January 21,1998 Registration opens 9 a.m. Exhibits open 11 a.m. - 6 p.m. Sound and light equipment manufacturers, music dealers, and other DJ-related outlets will showcase their products.

Seminars: 10 a.m. - 5 p.m. • "Wedding Performances - the Finishing Touch." Those additional details that make a truly polished show. • "The DJ: In for the Long Haul." Ever wonder if you'll be a DJ at 60 years old? It's possible. • "Dance For DJs: From A To Z." Cover all the bases of dance music and dance with Hillbilly Rick, Christy Lane, and Mike Mireles. • "DJ Computer Technology." Part 1: On the net.

Schedule ofjEvents • "DJ Computer Technology." Part 2: On the GIG. (incredible new technology) • "Karaoke: Alive And Growing." • "Legal Warfare: Boot Camp For DJs." Entertainment attorney, Sheldon Starke, tackles legal issues. • "Profit from PR.: Getting Free advertising and Promotions." Market your services; minimal cosrs! • Plus! Manufacturer Tech Demos!

Wednesday night 9 p.m. -12 a.m. "The American DJ Awards Show." Free to all show attendees, others $35 cover if space available. American: Sponsored by Gemini Sound Products. Jockey'

Thursday, January 22, 1998 Registration opens 9 a.m. Exhibits open 11 a.m. - 5 p.n Sound and light equipment manufacturers, music dealers, and other DJ-related outlets will showcase their products.

Seminars 10 a.m. - 5 p.m. • Special Guest, Doug Cox will enlighten you with, "The Ride of a Lifetime." Learn to use the power of your profession! • "Mobile Mixing: Yes You Can!" • "Working With The Competition." Getting along with other companies in your local area; networking or association? • "Single Operator Forum." Dealing with the issues unique to one-person operations. • "Multi-Systems - Options And Ideas." Training, keeping, paying your employees; franchising. • Getting Your Price: Part 2. The secret formulas" Knowing the true costs of running a DJ service will help your bottom line. • "Small Town Promotions." Unique ideas that can be applied to market your services in smaller urban and rural markets.

Plus: Manufacturer Tech Demos! Thursday afternoon

CD Swap Meet! Attendees will have desig nated area to shop and swap! Bring what you don't need and make some quick cash! Music only. No dealers or reps please. Thursday night 8 p.m.-till? Closing party at The Beach, Vegas' hottest club. VIP Mobile Beat attractions! (Must be 21 or older) NOTE: Seminars are available on a first-come, first-served basis. All .seminars and some events are subject to change without notice. Please refer to our \Veb site (http://www.mobilebeat.com/djshow/) for updates ol listings and limes.

»y f a* TODAY 716-385-3637 For Visa or MasterCard orders only, j

REGISTRATION Mobile Beat Use this form if you are registering by mail or fax. Please use one form per person. Photo copy this form if additional copies are needed or for your records.

DJ ShowS Conference i • 9 • 9 • 8

http://www.mobilebeat.com/rljshow/

5 WAYS TO REGISTER Phone: (716) 385-9920 Fax: (716) 385-3637 ••••••••••••••

Tropicana Hotel Las Vegas, Nevada January 20*21*22, 1998 Exhibits open Jan. 21-22

E-mail: DJshow@mobilebeat.com Mail: PO Box 309, E. Rochester, NY 14445 • • • Web site: http://www.mobilebeat.com/djshow/ NAME CO. NAME

...is the cost? $125 for full pass $50 for exhibit-only pass ...will be attending? Mobile, Club and Radio DJs & KJs

STRET CITY

STATE

TELEPHONE

RAX

CREDIT CARD »

ZIP CODE

EXP.DATE

(Visa or Mastercard only)

CARD HOLDER'S NAME (PLEASE PRINT)

CABD HOLDER'S SIGNATURE

Air Discou

/ Car Rental Discounts through

Budget Rent-a-Car United Airlines 800-922-2899 (file#517GS) \ x-237 / 800-521-4041 -^_____ For Hotel Reservations,

Call the Tropicana 800-634-4000 Mobile Beat Show Rate: $70 per night

V CHECK

TOTAL AMOUNT ENCLOSED OR TO BE CHARGED

V MONEY ORDER

Full Program

$125

Advance Registration Price ($1 so at the door) Includes Exhibit Hall, all Seminars, Symposiums & Special Events

Exhibit-Only Pass

$50

Advance Registration Price ($60 at the door) Includes Exhibits and Special Events

Return Registration form to: Mobile Beat Magazine • P.O. Box 309 • East Rochester, NY 14445 Telephone: 716-385-9920 • Fax:716-385-3637 • e-mail: info@mobilebeat.com Refund policy (for non-attendance only): Must be in writing and include proof of payment (less a $25 processing fee).

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SOUth Hall BOOth #4945

Call or Write for the MBT Dealer In Your Area: P.O. Box 30819 • Charleston, SC 29417 Phone (803) 763-0220 • Fax (803) 763-9096

The votes are all in for this year's Top 200 and now that ballots can be submitted via our website (www.mobilebeat.com) we received far more participation than ever before. This year's list features many of the old familiar titles, along with many new ones. Old standbys, like "Y.M.C.A." and "Old Time Rock & Roll," will probably be Top 200 favorites well into the millenium. But what's most interesting are the new releases. Which will make the list? And will they be forgotten a year from now? This year's format is a combination of past years. We've first listed the all-time Top 200 songs, number one having received the most votes. We included the category in which each song got the most votes. At the end of the main list we have also included five of the categories with the Top 5 titles in each.

AMERICA'S MOST PLAYED PARTY SONGS

Title

Artist

1.Y.M.C.A.

VILLAGE PEOPLE

2. BECAUSE YOU LOVED ME

CELINEDION

3.MACARENA

LOS DEL RIO/LOS DEL MAR

Category P BR P

4. UNCHAINED MELODY

RIGHTEOUS BROS./LEANN RIMES

5. WONDERFUL TONIGHT

ERIC CLAPTON

6. LOVE SHACK

B-52'S

7. ELECTRIC SLIDE/BOOGIE

MARCIA GRIFFITHS

8. CELEBRATION

KOOL& THE GANG

9. BOOT SCOOTIN'BOOGIE

BROOKS &DUNN

10. C'MONN'RIDE IT (the Train)

QUAD CITY DJ'S

11.1 SWEAR

JOHN MICHAEL MONTGOMERY

12. BUTTERFLY KISSES

BOB CARLISLE

13. OLD TIME ROCK & ROLL

BOBSEGER

14. YOU SHOOK ME ALL NIGHT LONG

AC/DC

15. CRAZY

PATSY CLINE

16. FRIENDS IN LOW PLACES

GARTH BROOKS

17. UNFORGETTABLE

NAT KING & NATALIE COLE

18. CANT HELP FALLING IN LOVE

ELVISPRESLEY

19.MONYMONY

BILLY IDOL

20. THE TWIST

CHUBBIE CHECKER

21. STAYIN'ALIVE

BEE GEES /N-TRANCE

22.CHATTAHOOCHEE

ALAN JACKSON

Title 23. NEW YORK, NEW YORK

Artist FRANK SINATRA

Categom K

24. ALWAYS AND FOREVER

HEATWAVE

25. (EVERYTHING I DO) I DO IT FOR YOU

BRYAN ADAMS

26. CROSS MY HEART

GEORGE STRAIT

27. KEEPER OF THE STARS

TRACY BYRD

28. ITS YOUR LOVE

TIM MCGRAW/FAITH HILL

29. LAST DANCE

DONNA SUMMER

30. GREASE MEGAMIX

JOHN TRAVOLTA & OLIVIA NEWTON-JOHN P

31.1 WILL SURVIVE

GLORIA GAYNOR

32. WANNABE

SPICE GIRLS

33. LADY IN RED

CHRIS DEBURGH

34. SHOUT

ISLEY BROS/VARIOUS

35. MEN IN BLACK

WILL SMITH

36. GET DOWN TONIGHT

KC& THE SUNSHINE BAND

37. HAVE I TOLD YOU LATELY

VANMORRISON/RODSTEWART

38. GONNA MAKE YOU SWEAT

C&C MUSIC FACTORY

39. HOT, HOT, HOT

BUSTER POINDEXTER

40. DECEMBER '63 (OH WHAT A NIGHT)

FOUR SEASONS

41. COULD I HAVE THIS DANCE

ANNE MURRAY

42. BRICK HOUSE

COMMODORES

43. HOW BIZARRE

OMC

44.1 FINALLY FOUND SOMEONE

BARBRASTREISAND& BRYAN ADAMS

45. WHAT A WONDERFUL WORLD

LOUIS ARMSTRONG

46. CHICKEN DANCE

EMERALDS/VARIOUS

47. SMELLS LIKE TEEN SPIRIT

NIRVANA

48.STROKIN'

CLARENCE CARTER

49. WHAT I LIKE ABOUT YOU

ROMANTICS

50. ANY MAN OF MINE

SHANIA TWAIN

51. BLISTER ON THE SUN

VIOLENT FEMMES

52. WE ARE FAMILY

SISTER SLEDGE

53. WHEN A MAN LOVES A WOMAN

MICHAEL BOLTON/PERCY SLEDGE

54. WIND BENEATH MY WINGS

BETTEMIDLER

55. THE DANCE

GARTH BROOKS

56. SWING THE MOOD

JIVE BUNNY & THE MASTERMIXERS

57. BROWN EYED GIRL

VAN MORRISON

58. ACHY BREAKY HEART

BILLY RAY CYRUS

59. GOODNIGHT SWEETHEART

THE SPANIELS

60.NODIGGITY

BLACKSTREET

61. HOW DO I LIVE

LEANN RIMES

62. ARE YOU READY FOR THIS

2 UNLIMITED

63. LETS GET READYTO RUMBLE

ESPN JOCK JAMS

64. ENDLESS LOVE

D. ROSS & L. RICHIE/ LVANDROSS&M.CAREY

P • Party KO • Kick Off CO • Country

DA • Dance K • Karaoke

R • Rock BR • Bridal

E • End the night BA • Ballad

MOBILE BEAT TOP 200 nm

Title 99. HIT THE ROAD JACK

Artist BUSTER POINDEXTER

100. HOLIDAY

MADONNA

ALABAMA

101. TROUBLE

TRAVISTRITT

68. IFS RAINING MEN

WEATHER GIRLS

102. SUMMER NIGHTS

JOHN TRAVOLTA& OLIVIA NEWTON-JOHN K

65. NEON MOON

BROOKS &DUNN

66. PARADISE BY THE DASHBOARD LIGHT

MEATLOAF

67. MOUNTAIN MUSIC

1ssP5"'W': Â» CO

Category E

69. BABY LIKES TO ROCK IT

THE TRACTORS

103. TWO PRINCES

SPIN DOCTORS

70. PLAY THAT FUNKY MUSIC

WILD CHERRY

104. TAKIN' CARE OF BUSINESS

BTO

71. BARBIE GIRL

AQUA

105. RETURN OF THE MACK

MARKMORRISON

72. SUMMER WIND

FRANK SINATRA

106. ME AND YOU

KENNYCHESNEY

73. UN-BREAK MY HEART

TON! BRAXTON

107. LOVE ROLLERCOASTER

RED HOT CHILI PEPPERS

74. FOR YOU 1 WILL

MONICA

108. HERE AND NOW

LUTHER VANDROSS

75. SOLD

JOHN MICHAEL MONTGOMERY

109. ANOTHER NIGHT

REALMCCOY

76. MO MONEY MO PROBLEMS

THE NOTORIOUS B.I.G./ PUFF DADDY

110. WHOOMP! THERE ITIS

TAG TEAM

77. MMM BOP

HANSON

Ul. I'LL BE MISSING YOU

PUFF DADDY /FAITH EVANS

SUGAR RAY

112. SAVE THE BEST FOR LAST

VANESSA WILLIAMS

79. BLUE

LEANN RIMES

113.1 LIKE IT LIKE THAT

BLACK OUT ALL STARS

80. POWER OF LOVE

CELINEDION

114. SUPER FREAK

RICK JAMES

115. MARGARITAVILLE

JIMMY BUFFETT

81.TOOTSIEROLL

82. BITCH

MEREDITH BROOKS

116. BEAUTIFUL IN MY EYES

JOSHUA KADISON

83. DA' DIP

FREAKNASTY

117. YOU AND I

EDDIE RABBITT/

84. MY MARIA

BROOKS &DUNN

CRYSTAL GAYLE

118. DA BUTT

85. WHIP IT

119.1 BELIEVE IN YOU & ME

FOUR TOPS

86.1 MELT WITH YOU

MODERN ENGLISH

120. LOVE OF A LIFETIME

FIREHOUSE

87. CLOSER

NINE INCH NAILS

121. YOU'RE MY INSPIRATION

CHICAGO

88. BIZARRE LOVE TRIANGLE

NEW ORDER

122. ENTER SANDMAN

METALLICA

89. WATERMELON CRAWL

TRACYBYRD

123. THROUGH THE YEARS

KENNY ROGERS

90.00HAAH...JUSTALHTLEBIT

GINAG

124. IT TAKES TWO

DJEZ ROCK & ROB BASE

91. COTTON EYE JOE

REDNEX

ROCKY HORROR PICTURE SHOW

93. DANCING QUEEN

ABBA

125. CONGA 126. THE TIME WARP 127. GOT TO BE REAL

SOFT CELL

DA R DA

MIAMI SOUND MACHINE

92. TAINTED LOVE 94.1 WILL ALWAYS LOVE YOU

WHITNEY HOUSTON

128. AFTER THE LOVIN'

ENGELBERTHUMPERDINCK

95. BOOM BOOM BOOM

OUTHEREBROS.

129. NOBODY

KEITH SWEAT

96.1 LIKE TO MOVE IT

REEL 2 REAL

130. IMPRESSION I GET

THE MIGHTY MIGHTY BOSSTONES

97. THAT'S WHAT FRIENDS ARE FOR

DIONNE WARWICK

131. HOKEY POKEY

RAY ANTHONY

98. MOVE THIS

TECHNOTRONIC

132. THE FRESHMEN

THE VERVE PIPE

CHERYLLYNN

DA BA/BR BA

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www.qscaudio.com

MOBILE BEAT TOP 200 Title 133.COMEONEILEEN

DEXn MIDNIGHT RUNNERS

134.FISHIN'INTHEDARK

NITTY GRITTY DIRT BAND

135. SEMI-CHARMED LIFE

THIRD EYE BLIND

136. EVERY DAY IS A WINDING ROAD

SHERYLCROW

137. BREATHE

PRODIGY

138. LOSER

BECK

139. LOUIE LOUIE

THEKINGSMEN

140. WILD THING

TONE LOG

141. BE MY LOVER

LA BOUCHE

142. END OF THE ROAD

BOYZIIMEN

143. HAPPY TRAILS

ROY ROGERS/VAN HALEN

144. TWIST AND SHOUT

BEATLES

145. WOOLY BULLY

SAM THE SHAM & THE PHARAOHS

P CO R R DA R P DA DA E E KO P

167. SECRET GARDEN

Artist BRUCESPRINGSTEEN

168. WHAT I GOT

SUBLIME

169. DONT SPEAK

NO DOUBT

170. ANTS MARCHING

DAVE MATTHEWS BAND

171. TRUE COMPANION

MARCCOHN

172. STRAWBERRY WINE

DEANA CARTER

173. DO YOU LOVE ME

CONTOURS

174. CAN YOU FEEL THE LOVE TONIGHT

ELTONJOHN

Category BA

175. IN YOUR EYES

PETER GABRIEL

176. BORN TO BOOGIE

HANK WILLIAMS JR.

177. YOU OUTTA KNOW

ALANISMORISSETTE

178. COME OUT AND PLAY

THE OFFSPRING

179. COCO JAMBO

MR PRESIDENT

146.1 KNEW THE BRIDE

DAVE EDMUNDS

180. MY WAY

FRANK SINATRA

147. START ME UP

ROLLING STONES

181. GROW OLD WITH ME

MARY CHAPIN CARPENTER

148. FUNKYTOWN

LIPPS, INC.

182. SHAMELESS

GARTH BROOKS

149.1 ONLY HAVE EYES FOR YOU

FLAMINGOS

183. WHEN I FALL IN LOVE

CELINE DION

150. ROCK AROUND THE CLOCK

BILL HALEY & THE COMETS KO

184. HYPNOTIZE

THE NOTORIOUS B.I.G.

151. IN THE MOOD

GLENN MILLER

185.TUBTHUMPING

CHUMBAWAMBA

186. FIRESTARTER

PRODIGY

187. I'M TOO SEXY

RIGHT SAID FRED

152. (I'VE HAD) THE TIME OF MY LIFE B. MEDLEY & J. WARNES 153. ROCK & ROLL ALL NITE

KISS

154.1 LOVE YOU

CLIMAX BLUES BAND

155. MICKEY

TONI BASIL

156. FOOTLOOSE

KENNYLOGGINS

157. PUSH IT

SALT-N-PEPA

158. DONT STOP TILL YOU GET ENOUGH 159. STAND BY YOUR MAN 160. ALWAYS

ATLANTIC STARR

161. SAFETY DANCE 162. WILD WILD WEST

188. YOU DROPPED A BOMB ON ME

GAP BAND

189. PUSH

MATCHBOX 20

190. TRASHY WOMEN

CONFEDERATE RAILROAD

191. SWEET CAROLINE

NEIL DIAMOND

MICHAEL JACKSON

192. DO YOU WANNA FUNK

SYLVESTER

TAMMY WYNETTE

193. SO MANY MEN SO LITTLE TIME

MIQUEL BROWN

194. FAITHFULLY

JOURNEY

MEN WITHOUT HATS

195. AFTER ALL

PETER CETERA &CHER

ESCAPE CLUB

196. LOOK AT US

VINCEGILL

DA R CO P DA

163. CANON IN D

PACHEBEL

197. NEVER SAY NEVER

ROMEO VOID

164. EVERYBODY, EVERYBODY

BLACK BOX

198. SHINE

COLLECTIVE SOUL

165. THE SHAKE

NEAL MCCOY

199. 1 GOT YOU BABE

SONNY &CHER

166.1 DO

PAULBRANDT

200. OPEN ARMS

JOURNEY

To The Pro

I DEMON

MD RECORDER DN-M2000R

True Blue

CUE — •

PLAY/PAUSE *

1 •>

3 •»

4 *

jhe Denon DN-M2000R is the most excit ing product to hit the DJ market in years.

±4-8%

PITCH

Re-Recordable MiniDisc Format Hot Start Function A-B Seamless Loop Playback Selectable Pitch Control ± 4% or ± 8% Instant Start Five Cue Points Per Track Program Up to 25 Tracks Record Up to 74 Minutes (stereo) 148 Minutes (mono) Three Rack Space Chassis with Integral Controller and Transport Shock Memory

Its extremely creative MiniDisc format not only provides CD-quality audio, but is also rerecordable~a cost-saving option when remixing, editing or archiving dance music in your project studio. MD discs are also more rugged than CDs, providing a more reliable live performance medium. If you're serious about your craft, the Denon DN-M2000R should be part of your DJ equipment arsenal. No other recordable medium comes close to offering the performance and flex ibility of MiniDisc.

Denon Electronics Division of Denon Corporation (USA), 222 New Rd, Parsippany, Nf 07054, (973) 575-7810 Denon Canada, Inc., 17 Denison St., Markham, Ontario, Canada L3R IBS, (905) 475-4085 Labrador, S.A. de C.V, Zaniora No. 154,06140 Mexico, D.F., (52-5) 286-5509 Visit our web site: wwvv.denon.com

The First Name In Digital Audio

MOBILE BEAT TOP 200 TOP 5 BALLADS Title

TOP 5 BRIDAL Artist

Title

Artist

UNCHAINED MELODY................... RIGHTEOUS BROS. / LEANN RIMES

BECAUSE YOU LOVED ME ............................................... CELINE DION

WONDERFUL TONIGHT................................................ ERIC CLAPTON

BUTTERFLY KISSES...................................................... BOB CARLISLE

BECAUSE YOU LOVED ME .............................................. CELINE DION

I SWEAR.......................... JOHN MICHAEL MONTGOMERY / ALL-4-ONE

LADY IN RED........................................................... CHRIS DEBURGH

(EVERYTHING I DO) I DO IT FOR YOU............................ BRYAN ADAMS

UNFORGETTABLE................................... NAT "KING" & NATALIE COLE

I FINALLY FOUND SOMEONE ...... BARBRA STREISAND & BRYAN ADAMS

TOP 5 COUNTRY BOOT SCOOTIN'BOOGIE...

BROOKS &DUNN

FRIENDS IN LOW PLACES.

.. GARTH BROOKS

CHATTAHOOCHEE.........

...ALAN JACKSON

These lists feature the Top five most-played songs in each special catÂ egory. All 25 songs listed here also appear in the Top 200 list in the order of which they rated.

....... PATSY CLINE ....SHANIA TWAIN

TOP 5 DANCE Title

TOP 5 PARTY Artist

Title

Artist

Y.M.C.A...................................................................... VILLAGE PEOPLE

Y.M.C.A................................................................... VILLAGE PEOPLE

C'MON N' RIDE IT (The Train)....................................... QUAD CITY DJ'S

MACARENA........................................... LOS DEL RIO / LOS DEL MAR

STAYIN ALIVE..................................................... BEE GEES / N-TRANCE

ELECTRIC SLIDE/BOOGIE..................................... MARCIA GRIFFITHS

MEN IN BLACK.................................................................. WILL SMITH

OLD TIME ROCK & ROLL................................................. BOB SEGER

WANNABE......................................................................... SPICE GIRLS

MONY MONY.................................................................... BILLY IDOL

T T T t

DRUM EFFECTS

n r:i r;

You need gejr thats ready and willing to dish it out as long as they wdin u. I his party will NOT stop because your equipment did. Get it? Good. Then get this: Studio Pro is the one name in high-end studio and mobile gear that covers all ranges and all tastes: from the seasoned professional to you youngbloods just getting started (and everyone in between). We've got you covered. From our rack-mountable studio/mobile equipment to our tabletop models designed for professional and beginner alike. From workhorse session equipment to mobile gear that has everything from built-in sampling to drum effects to sound effects and more. We've got you covered because WE'VE GOT THE GOODS. Reliable operation. Clean sound. Raw power. One brand has it all: Studio Pro by Pyramid. Starting to get the picture? Don't pay more for less. Don't get hustled.. .get MOVING.

Its all in me mix. Thats why pyramid manufactures more than 600 products to suityour every professional and mobile audio need. From mixers and power supplies to studio monitor speakers and PA class amplifiers, we've gotyou covered whatever your situation. PMR9600: Rack Mount PA Mixer with Drum Effects PM8501: Rack Mount Mixer with EQ. Echo & Sound Effects PM9200: Rack Mount Mixer with Digital Sampling System PR6007: Table Top Mixer with EQ and Digital Sampler PA800X: 800 Watt Rack Mount Amp with Dual Vu Meters And thats just a sampling (pun intended). Check out the full Pyramid Studio Pro line at your local dealer or fax us for more information. Your dealer doesn't carry Pyramid?

Standing behind our products. Standing the test of time. (D 7997 Sound Around, Inc. Pyramid. Studio Pro end the Pyramid logo are trademarks of Sound Around, Inc.

PROFILE

he's Go Step by step instru

he kicked off last year's Mobile Beat DJ Show and Conference and instantly became the sweet heart of our profession. That was last year and the theme was disco. This year, Christy Lane will be back with more dances... more dancers... and more excite ment! In the year since last year's Mobile Beat Show, Christy's interest in DJs and DJs who teach dances has blos somed. Contacts made last year in Vegas have led to new projects. Her collaboration with Bobby Morganstein has produced two new CDs: "Let's Do Ballroom" and "Christy Lane's Complete Party Dance Music" (available dirough Bobby Morgenstein Productions, 215947-6935) with more on the way. In addition, she has produced an exten sive library of "Learn To Dance" videos covering virtually every cat egory of music.

MOBILE BEAT

lereis'a reason why EUs aTFarouna tne woria are talking about the new DJX Series™ from Sonic, and the rea son is incredible performance! The DJX1812™ and DJX1510™ "sub on a stick" system utilize a unique dual loaded folded horn system for unprecedented bass response. Don't bother biamping this system because high powered passive crossovers are standard. The 64 Ib. DJX215™ sets a new standard for performance in a com pact package with high power handling and an affordable price. The DJX115™ and 183™ enclosures will rock your dance floor without filling your truck or emptying your wallet. All are backed with a two year limited warranty that you probably won't ever need. Send $3 for a complete catalog, that also features our line of sub enclosures.

Sonic Inc.

3383 E. Layton Ave. Cudahy Wl 53110 (414)483-5091 Fax(414)483-3344

EXTREME ENERGY You know the type. They're always on the move. They seem to have an endless amount of energy. Their bubbly personality is infectious. Christy Lane personifies this "type," and has effectively harnessed her energy through the means of dance. Lane is a successful, self-made woman who has managed to use her love of dance to not only better her own life but all of those who encounter her. From her Palm Springs, Calif, location, she owns and operates Christy Lane Enterprises. A professional dancer, choreog rapher and certified fitness trainer, Lane uses dance and physical fitness to reach her audience. "I have the greatest job in the world," exclaims Lane.

LETS GET PHYSICAL It's not all fun and games for her though. Lane takes her work very seriously. "Dance can offer all the benefits of wellness. It is physical, mental, social, emotional and it develops self esteem," says Lane.'She works every day on portraying that message: Dance is the only escape one needs. It makes you feel good, it relieves stress, and has so many more positive effects. You just can't feel bad when you are dancing! This would explain why so many of us love to get up on that dancefloor and shake our money makers. It's no wonder that line dancing is so popular; it enhances the feeling by magnifying social interaction. You don't have to have a partner or even know the dance, you can rely on the group. Of course, somebody has to know the dances, and that's where Lane steps in. 34

Her collaboration with Bobby Morganstein has produced two new CDs: Let's Do Ball room and Christy Lane's Complete Party Dance Music (available through Bobby Morgenstein Productions, 215-947-6935) with more on the way. In addition, she has produced an extensive library of Learn To Dance videos covering virtually every cat egory of music. THE DANCER IN YOU Understanding the impact of line dancing, Lane has created 2 1 videos on the subject. Her instructional dance videos make it possible for anyone to enjoy the pleasure of dance. Whether you're in the mood for "Fun and Funky Freestyle Dancing," or want to know the key to, "Surviv ing the Country Dance Floor," Lane can get you up and kicking your heels in no time. The DJ profession also requires a positive, uplifting attitude as well as knowing all the social trends affiliated with music—like dance. Through Lane's videos and motivational presentations, you, too, can reap the rewards of her positive physical and mental outlook, and dance your way through every event. Why sidestep through life, when you can take it by leaps and bounds? .£&. MOBILE BEAT

LyteQuest Pro explodes with over 20 new products for any application. Now with over 100 special effects lighting and lighting accessories, LyteQuest Pro has the right product to match every fixed and mobile need. Models with multi-gobos, multi-colors, 360 degree rotation, DMX capability, sound activation, low profile models, economy lasers, fog machines, strobes, par cans, and more, help to create a dazzling show that will bring excitement to any venue. All with a one-year limited warranty. So contact your LyteQuest Pro/Gemini sales representative today, or call 1-800-476-8633.

LQ-5I2/FLY2 ÂŠ 1997 Gemini Sound Products Corp.. 8 Gsrmak Drive, Carterel, NJ 07008 Phone-732-969-9000 Fax-732-969-9090 2851 Evans Street, Hollywood, FL 33020 Phone-954-920-1400 Fax-954-920-4105 'Excluding light bulbs. www.geminldj.com

PLAY SOMETHING WE CAN DANCE TO

\V\V ha™

e 're going to the chapel and we 're going to get matried. Actually, the bride and groom have been to the chapel and now they're to party! T T ready re; Every year about this time I start getting calls from the new crop of DJs looking for tips on how to play a wed ding reception. For the benefit of our newer readers (and the brides and grooms they'll play for) the following is a brief outline of a typical reception: First, there are the introductions. Then there's the meal, after which the newlyweds will mingle with family and friends, cut the cake and throw the bouquet. They have put their confidence in you as their DJ to make sure they have the time of their life on this most special day. It will be up to you to ensure that the events they want (cake cutting, first dance, etc.) are carried out as planned, and that the style of music they requested is played. While few guests will remember in a year or two whether there was ham or roast beef on the buffet table, they will remember whether or not they had a good time dancing. A lot is riding on your shoulders during the reception, but if you hold a consultation with the bride \\ and groom a few weeks ahead of the date, everything should go fine.

PLANNING STAGE Whether your first contact is by phone or in person, at another wedding or bridal fair, show your genuine enthusi asm that the couple is considering hiring your services for their event. Congratulate the bride and groom on their engagement. Your initial positive

BY JAY MAXWELL

attitude will go a long way in showing any prospective client that they will be in good hands if they hire you. During the initial conversation, give them a brief synopsis of your services, including any literature that you are willing to send them free of charge. Set up a time to meet in person if they request. List other services (and whether or not they are free) you offer that they might not be aware of (light show, music for the wedding, required deposit, tuxedo, and announcing all events). Of course, be sure to tell them the one answer they are sure to want — the price. After getting their address, send them your litera ture which should include at least three items: 1. An introduction of your services 2. A list of your music selection 3. A reception flow sheet (event guideline). The list of your services should include slightly more detail than your initial conversation. You should also include a list of references that the client could call. Your music selection list or booklet should be well organized and should give the couple the sense that you have a wide variety of music and will be able to fulfill their requests. The reception flow sheet will show the couple how to organize their reception. It should have a place for all the bridal party's names. It will also allow them to tell you when they want to cut the cake, have the toast, and when and if they want to do the bouquet and garter toss. The name of the first dance and the bride/ father and groom/mother dances should also be included as well as when they want to do them. Feel free to send them a copy of this issue's list of suggested first dance songs. The flow sheet should convey that you know how to organize the event so the day will run smoothly. If at all possible, meet with the bride and groom a few weeks before their wedding day. During this time, make sure you know how to correctly pronounce all the wedding party's names. Go over the flow sheet again to be sure they still want the events to go as written and still want the same songs played. One of the most important things you must do is to listen to what any client wants. During the consultation, offer suggestions only if requested.

MOBILE BEAT

Top Bride / Groom First Dance Songs Always ............................................Atlantic Starr Always And Forever......................... Heatwave / ....................................................... Luther Vandross Beautiful In My Eyes....................... Joshua Kadison Because You Loved Me.................... Celine Dion Can You Feel The Love Tonight........ Elton John Can't Help Falling In Love............... Elvis Presley Could I Have This Dance .................Anne Murray Don't Know Much ............................Linda Ronstadt ....................................................... & Aaron Neville Endless Love................................... L. Richie & Diana Ross ....................................................... L. Vandross & M. Carey Everything I Do, I Do It For You....... Bryan Adams For The First Time........................... Kenny Loggins For You I Will................................... Monica Forever's As Far As I'll Go............... Alabama Glory Of Love ..................................Peter Cetera Grow Old With Me ...........................Mary Chapin Carpenter Have I Told You Lately .....................Van Morrison / ....................................................... Rod Stewart Here And Now................................. Luther Vandross How Do I Live.................................. LeAnn Rimes / ....................................................... Trisha Yearwood I Believe In You And Me................... Whitney Houston I Can Love You Like That................. John M. Montgomery / ....................................................... AII4-One I Cross My Heart............................. George Strait

I Do................................................. Paul Brandt I Finally Found Someone................. Bryan Adams ....................................................... & Barbra Streisand I Love The Way You Love Me........... John M. Montgomery I Love You .......................................Climax Blues Band I Swear........................................... John M. Montgomery / ....................................................... AII-4-One I Will Always Love You..................... Whitney Houston I'll Always Love You......................... Taylor Dayne I'll Still Be Loving You...................... Restless Heart In My Life........................................ Beatles In Your Eyes.................................... Peter Gabriel It's Your Love ..................................Tim McGraw ....................................................... & Faith Hill Keeper Of The Stars........................ Tracy Byrd Longer............................................ Dan Fogelberg Love Can Build A Bridge.................. Judds Love Is All Around........................... Wet Wet Wet Love Of A Lifetime.......................... Firehouse Love Will Keep Us Alive................... Eagles Maker Said Take Her....................... Alabama Masterpiece.................................... Atlantic Starr Me And You..................................... Kenny Chesney Meet In The Middle......................... Diamond Rio More............................................... Andy Williams Now And Forever............................. Richard Marx One In A Million You........................ Larry Graham

Power Of Love.................................Celine Dion Soul Provider.................................. Michael Bolton Take My Breath Away...................... Berlin That's What Love Is All About......... Michael Bolton Through The Eyes Of Love............... Melissa Manchester Tonight I Celebrate.......................... Peabo Bryson _____................................... & Roberta Flack True Companion.............................. Marc Conn Twelfth Of Never.............................. Johnny Mathis Unchained Melody........................... Righteous Brothers Unforgettable.................................. Nat "King" ....................................................... & Natalie Cole Up Where We Belong....................... Joe Cocker Valentine......................................... Martina McBride Way You Look Tonight...................... Frank Sinatra Wedding Song ................................. Paul Stookey We've Only Just Begun.................... Carpenters What A Wonderful World................. Louis Armstrong When A Man Loves A Woman.......... Percy Sledge / ....................................._............ Michael Bolton When I'm With You ..........................Sheriff Whole New World ............................Peabo Bryson Wonderful Tonight........................... Eric Clapton You And I......................................... Crystal Gayle ....................................................... & Eddie Rabbit! You Are So Beautiful........................ Joe Cocker You Mean The World To Me ..............Ton! Braxton

The Ultimate Music Guide for Mobile DJs!

Play Something We Can Dance TO

Since 1982, Mobile Beat's Musicologist Jay Maxwell has tracked audience response to thousands of songs. This book lists over 1,500 of the most reÂ quested songs of all-time. Each listing includes the title, artist, year released and the BPM (where applicable). Plus, for your convenience, the entire list is sorted five ways: alphabetically by title and artist, category, BPM count and year!

It's the most comprehensive music guide book ever! To Order: With Visa or MasterCard - Call 716-385-9920 or send check or Money Order for $59.95 (includes shipping) to: PSWCDT Music Guide, c/o Mobile Beat Magazine P.O. Box 309, East Rochester, NY 14445 The DJ Magazine

Categories include: Alternative/Modern Rock Big Band Disco 1970-79 Dance 1980-89 Dance 1990-96 Fast Country Rhythm & Blue/Rap Rock and Roll 1970-96 Slow Songs 1959-79 Slow Songs 1980-89 Slow Songs 1990-96 Slow Country Sock Hop 1955-1969 Special/Novelty Songs Vocalists Wedding/Love Songs

Includes Year and BPM! 37

THE BIG DAY

If? Now you con put more muscle back into your music with Stanfon's new 680 HP DJ cartridge. The HP delivers more groovehugging tracking accuracy and durability than our popular 680EL for active backcuing and "scratch" mixing. For even greater playback punch, the 680 HP packs 60% more output voltage and wide-band frequency response for bodacious bass and silky smooth highs. Best of all, the 680 HP delivers all this performance for just a few dollars more than the legendary 680EL.

The choice of the professionals 101 Sunnyside Blvd., Plainview, NY 11803 (516)349-0235 Fax:(516)349-0230

Canada: Sounds Distribution 120 Finchdene Square #1, Scarborough, ON MIX 1A1 (416) 299-0665 Fax: (416) 299-4416

First impressions are important. People will tend to judge whether you are a professional DJ before you do your first microphone break. You should look as sharp as a member of the wedding party. Besides the proper attire (typically a tuxedo), a fresh haircut, manicured nails, close shave or trimmed beard and—most important—a great smile, will convince everyone you're a professional. Your equipment should also look well dressed. There should be no visible wires, no loose papers lying around, and your equipment should be clean and dust free. Make sure all wires lying on the floor are secured with tape and that there is a clear path for you to easily exit your booth or table to periodically converse with the bride and groom during the evening. After announcing the bridal couple, make sure that they are ready to do each scheduled event prior to announcing it. They should always feel that they have ultimate control of the party. Many times there will be some deviation in the original plans; be flexible during the evening. Also, you should always tell the professional photographer which event is about to be an nounced so he or she will be ready. One of the most important things to remember is that even though you want to entertain the crowd, you should never take away any of the spotlight from the bride and groom. The accompanying list of the most popular bride and groom songs over the past few years are listed alphabetically, not by ranking. We invite you to add to the list by faxing your suggestions to (716) 385-3637 or e-mail to mobilebeat@aol.com. In addition, I also invite any ideas for future P.S.W.C.D.T articles. Happy spinning during 1998! / Jay Maxwell owns and operates Jay Maxwell's Music By Request in Charleston, South Carolina.

MOBILE BEAT

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For increased bass the SH-1818X can be layed on side.

B-52 SH-SERIES subwoofer enclosures provide the advantage of low frequency horn loading in a compact and cost effective cabinet suitable for a wide variety of high output applications. All three ruggedly built enclosures house 100% made in the U.S.A. 18" cast subwoofers, with 4" voice coils employed in the SH-18X & SH-1818X models. A tinted plexi-glass window ranging in thickness from 5/8" to 3/4" reveal the subwoofer(s) at work.

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REINFORCE STAGE OR DANCE FLOOR BEFORE USE!

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SCOOP

BY ROBERT A. LINDQUIST

Living Large More knuckle room is just the beginning of Gem's new line.

Test Bench BMX90 Sold by Gem Sound, 600 East 156th Street, Bronx, NY 10455;

(718) 292-5972; e-mail: gemsoundco@aol.com.

Specs: Input Sensitivity: Mic 3mV/lKQ Phono 3mV/50KQ Line/CD 150mV/50KQ Bus .775mV/50Kohm

t's rather ironic that, just as most mobiles are looking for ways to jam more gear into less space, a new breed of Euro-inspired mixers shows up that is bigger than anything previous. Gem's BMX90 is just one of the many new mixers with maxi mized faceplates.

CHANGE OF FACE Everything about the BMX90 is big. With over 260 square inches on the 19-inch by 13.75-inch faceplate, there's plenty of working area. The royal blue accent color on the faceplate is pleasing without being gimmicky—quite a departure from Gem's previous mixer line which featured an attractive feminine face staring back at the user. If you play in clubs, you're sure to appreciate the long throw on the main channel faders and crossfader. The controls are very smooth and linear for a mixer in this mid-price range. Being over-sized also allows for a 40

short throw fader, "mini-faders" for the three-band (low, mid, high) EQ on the main mic, and each of the four main channels. Channels one and two can be assigned to either a line input or mic. Channels three and four can be assigned to either two lines or a line and phono. Input selection is made by way of a toggle switch. To help balance the levels of all these "ins" and "outs," there's a gain trim control for each position of the toggle. The only things that seem disproportionately small on the faceplate are the VU meters. The dual (left/right) meter is positioned way in the upper right corner under the power switch. While the meter certainly does what it is supposed to, I would have preferred to see larger meters or a bright LED display. The long list of features includes a bus input for an external mixer, a mono loop input jack for connecting a keyboard or guitar, and dual zone (plus record) outputs.

Output level: Mains/Sampler 1.5V/600Q Headphones 200mV/8& THD: 0.01% Response: 20Hz-20kHz ±0.5dB S/N: Mic 75dB Phono: 70dB Line/CD/Bus: 80dB EQ: lOOHz, IkHz, 10kHz Boost/cut ±12dB Other products used in this test: SKB Gig Rig Gemini 9800F Dual CD Player MIX P215H Loud Speakers Numark 5500 Amplifier Stanton 1001 Pro Headphones

YOU AINT SEEN JACK Once you master the myriad of ins, outs, toggles and trim controls you'll find this mixer to be quite a joy to use. The layout gives it a real studio feel and the extendible bus certainly readies it for that type of use. What I found most impressive about the BMX90 is the virtually endless number of ins and outs that MOBILE BEAT

connect to the four main channels. There's a top-mounted XLR jack for a main DJ mic, backed by two 1/4-inch jacks on the back panel (three if you don't use the line loop). The main DJ mic has a voice-over button which works in conjunction with release and sensitivity controls. With the voice-over button in the "on" position, the music will fade under as soon as you start to talk. The sensitivity trim adjusts the level at which the auto fade begins. The release controls how quickly the music bounces back to the preset level when the talk-over is finished. There is no control for how much the music fades. Personally, I feel it fades too low. Unless you really need to have both hands busy with source controls, I would suggest you leave the talk-over in the "off' position and do your talk-over fades manually. They'll sound so much better. The single-bank, 8-second sampler is placed in a very user-friendly position just to the right of the crossfader. It offers continuous playback and stutter effects. A level control sets the sample playback level in relation to the overall mix. A speed control adjusts the length and pace that samples are played back. For example, if a sample is created at 75 percent and then played back at 50 percent its pitch and tempo increases. Move the knob toward 100 percent and pitch and tempo decreases. The replaceable crossfader is fully selectable, allowing for fading between any two of the four channels. "Punch"

buttons are also provided for transformer effects.

WORTH THE BUCKS? With a suggested retail price of $649, die Gem Sound BMX90 mixer with digital sampler represents a good value for all DJs, in any application, who can use all of its features. DJs who are strictly mobile, however, will no doubt find that the size of the BMX90 prohibits use with many standard combo/podium cases. I was able to shoehorn the unit into our SKB Gig Rig along with the controller of a Gemini 9800 CD player (also an oversized unit), but just barely. If you don't need to allow space for a CDP con troller, then there's no problem. If you like the features of the BMX90, but don't have die rack room, Gem Sound has another mixer for you. The smaller BMX70 is 10.5-inches from edge to edge, front to back. It has most of the features of the BMX90, except die sampler and gain trim controls. It also lacks die release and sensitivity controls on the mic voice-over, which just renders it more useless than it already is, but that's just my opinion. Suggested retail price of the BMX70 is $479, which puts it at the lower end of the mid-price range. I did not have an opportunity to person ally test a BMX70, but given its similarities to the larger BMX90, it's wortii your while to consider. J

ULTIPLE WEEKEND GIGS?

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JfAST-a-ffJJC The DJ Magazine

SCOOP

Movin'

the Music

Great idea... but don't leave it on the roadside

There's no getting by it. At first glance, SKB's new Gig Rig looks like one of those refuse containers you see along the road on "trash day." But who can argue that putting wheels on a one-piece molded equipment rack is not a good idea? The dark gray Gig Rig stands just under 3 feet tall and less than 2 feet deep and wide. It's made of a very strong, slightly flexible, and highly resilient polyethylene. Aside from the fact that the top and front panels are removable, it appears as a single molding. There are 10 spaces in the front and 10 on the slant-mounted top. The Gig Rig can hold a lot of gear and we frequently load it to the hilt. Empty, the unit weighs in at barely 50 pounds. Load it up with a mixer, CD player, a couple of amps and some processing gear and it gets heavy... as in refrigerator. Even with the pounds on, howÂ ever, it rolls easily across floors and irregular surfaces. In theory, it will also traverse stairs. We tried it with just an amp and mixer and it was no problem. After we filled up all the spaces, however, it was a different story. It became very front heavy and awkward to pull up the stairs. We got it to the second floor but it took a second person pushing from underÂ neath. It can also be a chore to lift in and out of a van. A pair of handles on the sides would have been beneficial.

ROLLING SOUND As far as being a mobile mix station for Mobile DJs and KJs, the Gig Rig is a practical alternative. For KJs (and sound persons for small bands), the Gig Rig is a rolling studio. It's a bit low to operate comfortably from a standing position, but if you work seated on a stool, it's just the right height. DJs who work standing (unless they're under 5 feet tall) who wish to use a Gig Rig as a rolling podium may want to bring along blocks to raise the rack a few inches. This would put the mixer within easy reach and lessen the distance needed to bend down to reach the CD transports. A unit about 8 inches taller and 18 inches deep would be perfect for standing mobiles (hint, hint). It would also be better balanced for getting up and down stairs, which is an unfortunate but accepted fact of life. The molded handle on the Gig Rig functions first as a tough handle to facilitate moving the unit about. Secondly, it's a place to hang a small banner. If you don't use a banner, you will still want to drape something over the front. The door located on the back of the Gig Rig is convenient for accessing cables and cords, but is

not very attractive when facing the crowd. There are lockable covers for all rack areas. To secure it in a club or venue, run a cable and padlock through the handle. In its role as a Mobile Beat test rack, the Gig Rig is superb. To mount gear on the top rack, just position pieces and fasten them down. To install a piece of gear on the front panel, simply tilt it back on the handle and go to work. It would also be right at home in a studio or club. Solo operating mobiles, however, might find it a bit cumbersome for getting in and out of the local legion hall. If you work as a team (or use roadies) it may be perfect for what you do. The bottom line is, SKB's new Gig Rig is very unique, quite practical, and worth a look. <9

The Gig Rig Manufactured by: SKB Cases

12501 S.W. 128th St., Suite 204

Miami, FL 33186

Tel: (305) 378-1818

Web site: www.skbcases.com MSRP: $499.00 Products used in this test included: (but not all at once)

Numark SA5500 Amp BSTJMA-600NAmp Ashly FTX 1501 Amp Gemini 9800F CD Player Gem BMX90 Mixer ESO pro Mixer Numark DM1635 mixer Rane MM 8x Mixer Ashly EQ and C/L American DJ WR-100 Wireless

Mic System

MOBILE BEAT

Nobody listens to DJs like Vestax.

PMC-O6TScratch Mixer Our revolutionary new"T" shaped mixer lets you put two turntables almost side by side with the world's thinnest top section! Then choose from two selectable phono/line inputs with a +6/-26 dB two band EQ, a mic input, and reverse the cross fader direction with one quick movement using the unique "hamster" switch. When we say give DJs what they want, we mean it!

PDX-aa Battle Style Turntable - High torque motor starts spinning the table in 0.05 seconds. Features two! start buttons, an "out of the way" tone arm for scratching, instant access to the pitch control fader, quartz lock and a user replaceable mini-light. The turntable for the next 25 years! PMC-i5mk2 Mixer - The new standard in multipurpose mixers lets you use the "cut and mix" technique with a +6/ -26 dB three band EQ, 3 phono/5 'i ne inputs, 3 mic inputs, 2 band mic EQ and more! Not to mention the most powerful output section found in its class (balanced & unbalanced)!

PMC-osA Mixer- Powerful 2 band EQ on each program channel, 2 phono/line inputs, mic input and slide volume monitor selector makes our new "entry-level" mixer anything but basic!

FDG-i 3 Band Frequency Isolator and the GFE-i 6 Band Graphic Frequency

^Vestax

Eliminator - With the FDG-i, you can eliminate each frequency range completely or boost it by 6dB. The GFE-i features a 6 band slider that lets you cut each band down to 35dB, along with a bypass switch for all of your "on the fly" effects!

BY ROBERT A. LINDQUIST

SCOOP

Cheap trick... or what? Sometimes you get what you pay for... and sometimes you just get lucky.

Had I known before doing this review that the Pyramid Studio Pro Mixer costs just $299,1 probably wouldn't have even opened the box. After all, how can a mixer with so many features be such a red tag bargain? After giving the Studio Pro a good going over, a few clues came to surface. But even after compiling a short list of cost-cutting compromises, this mixer still comes through as a value-leader in the under $300 price category. While Pyramid may or may not be a familiar name, they have.been selling DJ mixers in the States for at least as long as Mobile Beat has been around, and probably longer. But due to a reputation for being a "not ready for the prime-time professional product," we have lacked any interest in putting a Pyramid mixer on the Mobile Beat test bench. With the Studio Pro, it's very clear that either Pyramid's past reputation in profes sional DJ circles was greatly undeserved, or the company's quality level has jumped several notches in a relatively short period of time.

WHAT DO YA EXPECT FOR $299? For starters, I expected a flimsy front panel, minimal features, rickety controls and a lot of noise. I was pleasantly surprised to find that not one of those preconceptions applied to the Pyramid Studio Pro. Instead, the unit proved to be a good example of just how many features can be packed into a standard 19 inch by 9.5 inch rack-mountable unit. So how do they do it for the price? While I was quite pleased with the construction of the case, graphics and highly legible labeling, a few areas of economizing were instantly apparent. Most notable is the basic layout and design, a real throw-back to about 1995. Setting off this "retro" look are two analog VU meters positioned topdead center, flanked by left and right seven back equal izers. Controls for the main mic are set to the left with the five sliders for the second mic and four input channels centered on the landscape. While not as high44

tech looking as the latest from Numark, Gemini, BST, Rane and ESO, it's a proven and workable design.

BEYOND THE BASICS In addition to its basic mixing capabilities, the Studio Pro includes onboard echo and a pad for six digital sound effects, with speed and volume control. There are dual inputs on each of the four source channels. An XLR connector is set on the front panel for the main mic. If your mic has a 1/4" plug, use the jack on the back for mic two. Treble and bass controls are provided for the main mic only. Now typical of most mixers, a replaceable and assignable crossfader (with off position) is standard. Cue is sent to the headphones via a cue assign rotary switch on the right side of the panel. The stereo/mono switch is located right above the master.

INACTION While we never had the opportunity to use this mixer at an actual event, it still got quite a workout in the lab. On the "pros" side are features like the XLR mic connector, seven-band EQ, stereo/mono switch and surprisingly smooth faders. The echo effect is quite functional for rounding out the sound and for improving the perfor mances of karaoke singers. On the "cons" side are the rotary controls used for assigning the crossfader and cue. They are so hard to turn that if your fingers are slippery or sweaty you may have a problem. They did seem to loosen up a bit as we used the unit. Another negative MOBILE BEAT

PYRAMID STUDIO PRO MODEL-8501 Specs

Input Sensitivity/Impedance Mic 1 (XLR jack) 1.5mV, 600 ohm, Balanced (Low) Mic 2 (PHONE jack) 1.5mV, 600 ohm, Unbalanced (Low) 6.0mV, 10K ohm, Unbalanced (High) Phono 3mV, 50K ohm Line 150mV, 27K ohm Output Level Main Out 2V, 10K ohm Record 150mV, 10K ohm F.R. 20-20kHz ±3dB Distortion S/N Ratio Mic < 0.20% Mic > 60dB Phono < 0.05% Phono > 70dB Line < 0.03% Line > 80dB Equalizer Control Freq. 60Hz, 250Hz, IkHz, 4kHz, 16kHz Boost/Cut Range ±12dB at center Tone Control Frequency for Mic 1 Bass lOOHz Treble 10kHz Boost/Cut Range ±10dB Talkover Attenuation -16dB Echo Delay Time (PM-8501/PM-8001) 50mS-120mS Power Source 120 VAC 60Hz / 220 VAC 50Hz, 20W Dimensions 482 x 112 x 240 mm (WHO) Specifications are typical; individual units might vary. Specifications are subject to change and improvement without notice.

point was the sound quality of the sound effects pad, but I doubt few mobiles really rely on machine gun blasts and UFO sounds to spice up their program anyway. As for the overall sound quality, Pyramid claims the signal-to-noise ratio on the line inputs is better than 80 dB, which is not as good as most mixers in the over $300 range, but is acceptable. The mic input, while also passable, is not nearly as clean.

MIXED FEELINGS For the serious mobile who puts great stock in sound quality and the ease and function of features, the Pyramid Studio Pro is probably not going to make your wish list, and neither will any other mixer in this price range. On the other hand, for the "hobbyist" DJ, as a backup mixer or as a fun toy for home, die Pyramid Studio Pro is more than satisfactory. If you're a fledg ling mobile just learning the ropes, this is an excellent choice. The owner's manual is one of the most complete and concise I've seen in quite awhile and the myriad of features creates an expansive electronic playground. Spend a little time checking out the Pyramid Studio Pro series and you should agree that, among this mixer's many tricks, the price tag is almost secondary. For a dealer near you, call (800) 444-5671.

Call 800-324-2673

<*£"&£?", :^

Sound, Lighting, Video & Accessories Lightwave Research Trackspc A versatile and affordable fixture that outperforms and outsells any luminaire in \

ADJ Avenger II New and improved with a more durable motor and 4 additional lenses throwin; even more multi-colored beams back n' forth, up and down!

its class!

Universal Controller

Gemini Motorhead _

Compact, and costeffective, the Universal controller allows independent control of Trackspot, Intellabeam, and Emulator!

Littlite Hi-Intensity Gooseneck Lights

Denon DN2500F Pro Dual CD Player Easily the most advanced entry in the evolution of Denon's line-up of dual CD players!

Numark DM 1635 DJ Mixer with Beatkeeper

You can count on the Motorhead to project bright- -, colored beams anywhere on the dance floor.

control of the Beatkeeper!

ADJ Snapshot

KLS FM-1000 London Fogger

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In addition to the popular otjlcCtlte, 12" and 18" fixtures with mounting base and dimmer we now offer models that connect to your DJ gear with BNC or XLR connectors! |

DEMON

Recently introduced and already a best-seller!

Mix like a pro with high-end audio circuitry and the complete mix

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The DJ Magazine

mBwm

; Stanton Groovemaster" The very latest from Slanton, the same cantilever design as the Trackmaster with increased voltage to boost the punch in your mixes!

Gemini PT2000 High-Torque Direct Drive Turntable All of the features that vinyl spinners love about the SL1200MKII have been included, only the price has changed!

Shure Headset Wireless System A popular choice for DJ's and KJ's who like to get out into the action. Our best selling headset wirelessl

BY ROBERT A. LINDQUIST

Minimizing to the Max The six hundred dollar system that fits in a Festiva. The emergency vehicle.

The MS-125 easily fits in the back of a Festiva, even with two small MIX P12H speakers and a Numark SA5500 amp (there was no tame to mount it in the rack). Total approximate street cost of this sample system, including a set of Mobile Beat's Top 200 (vols. 1 and 2) is less than $2,000.

big sound system with ill the bells and buzzers s great when you need to make a visual or sonic impression. But what about the jobs you could get by fine with a couple of CD players, a small mixer, an amp and couple of speakers? The MS-125 Mini DJ System from Electronic Bargains is perfect for smaller jobs, smaller DJ services, or as a backup to your main system. Weighing in at just 26 pounds, the MS-125 is a complete DJ system in a suitcase. The case measures 6-1/ 2 inches high by 26 inches wide and 13-1/2 inches deep. Inside, there are two JVC Walkman-type portable players, a Gemini two-channel (four-input) PMX-16 mixer, and a power strip. There's room for CD storage and grommet holes in the case allow for cord runs. At the hall, you can either set the case on top of a table or on the TB-12 folding sound stage base (included). Add an amp and speakers and you're all set. Actually working a gig with such a small setup may seem a stretch, but for a basic DJ presentation it's quite adequate. The JVC players with a built-in 10-second buffer are extremely resistant to skippingâ&#x20AC;&#x201D;even more so than many of the pro units we've tested. The downside is

Instant system. Just unfold the base and set the MS-125 on top for a quick mix station anytime, anywhere. Amp sits behind front panel. Ifs perfect for a backup system or for whenever you need an additional system right away.

Desktop mixing. Two JVC players and a Gemini mixer fit in the case that's just 26 inches wide.

getting used to the placement of the tiny CD player buttons and the lack of features, such as pitch control and pitch bend. The players are held in place with Velcro. They don't bounce around, but you can move them as you see fit. You can purchase the system as described for $599 or you can buy just the cases and supply your own compoÂ nents. Any standard size Walkman will fit on the 9 inch by 7 inch platforms provided, but make sure the body of your mixer is no wider than 8-1/2 inches. The Gemini mixer fits like a glove, but when we tried our demo ESO Hip we came about a quarter inch short. The faceplates are roughly the same width (10 inches is perfect), but the body of the Italian-made ESO was a tad too wide. Prices for the separates are: $179 for the case, $49 for the inside shelf, and $99 for the folding base. Available from Electronic Bargains, 970 Montello Street, Brockton, MA 02301. For information, call (508) 584-8255. MOBILE BEAT

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Beautiful Beasts MIX's P215H speakers kick, and they're dam nice looking too! Happy day. First it was the U.S. Postal Service with the latest Nu Traxx disc* (the one featuring Tubthumpin ' by Chumbawamba). Then UPS showed up with a pair of MTX P215H loudspeakers for our (temporary) listening pleasure. Most of the speakers we've tested lately have been typical two-way systems with a 12" or 15" woofer and a horn. The MTX P215Hs, however, have two 15" woofers and a 6" x 8" high frequency horn. This design offers two immediate advantages. With two 15" woofers, they can move a lot more air. More air means more bass. In theory, it's like having a single 30" woofer. In addition, the dual-woofer floor plan gives the engineers some interesting options in tuning the boxes, to carefully select the best sound and greatest efficiency. On the downside, there's more "ugh" in the lug. At 87 pounds, the P215Hs are about twice as heavy as most 12" two-ways. The good news is that they are very well balanced and, with the aid of a helper or handtruck, an easy task to move about.

SIZE HAS ITS ADVANTAGES Standing almost 4-feet high, you can place these cabs right on the floor and get sufficient projection for most events. If you're playing a densely packed crowd and can't get the high end to penetrate, you can increase the brightness of the horn relative to the woofers. If you need to crank the woofers for more bottom, you can back off the horn and avoid ear bleeds. These cabinets are rated at 300 watts RMS/1200 watts peak, at 4 ohms. For most venues, other than a gymna sium, that rating will give you plenty of punch. If you're playing in a gym, you could get by with a pair of P215Hs up on tables or, you could do the right thing... bring more speakers! Four of these black beauties would rock a gym full of teenyboppers with no problem. Add a couple of subs and the first kid who yells "crank it" is in for longterm disfigurement. MOBILE BEAT

niRS

A blue accent stripe across the faceplate of loudspeakers add a touch ofclass to these dancefloor thumpers.

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SONIC CHARMERS MTX builds a lot of speakers. Look beyond their pro DJ line and you'll find MTX speakers in high-tech home surround sound systems, monstrous car audio systems and a variety of commer cial and institutional applications. The company knows how to make great speakers, at an affordable price—the P215H is a perfect illustration. If you don't mind the extra size and weight, the new P215H will handle all your bread and butter gigs (wed dings, birthdays, etc.) with ease. While they love to be played loud, you can drop them to background level and still get a full sound with clear highs and forceful bass. We teamed them up with a BST JMA 600N amp, rated at 400 watts into 4 ohms. The speakers are rated 300 watts RMS, 1200 watt peak, so we actually had a little more amp than we needed. We added an ESO Hip mixer and an Ashly MQX 2150 equalizer. With both the out-board and on board EQs flat, at medium volume, the P215Hs were clear and impressive. Dropping down to background levels, a tweak in the 70 Hz range via the ESO's EQ, filled out the bottom nicely. At higher volumes, we found the speakers sounded fine without any additional high-end boost from the mixer. The speakers have a natural brightness, so it was good planning on the part of MTX to include the horn level control. With the horn level at its highest, we actually had to add a little to the mids for a good balance, but these adjustments will vary depending on the venue. For our bench test, we found there was really no need for the out-board EQ. But, just because it was there, we boosted the 60 Hz to the 160 Hz range just to see if these beauties could survive the I.O.T (intentional overdrive test). WithTubthrimpin ' at the highest level we could stand in close quarters, we took the BST well into the clipping zone but could not get the MTX woofers to wince. The DJ Magazine

OUT OF USA call (718) 567-3333 fax (718) 567-2310

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All three models in the "H" Series come with MTX's Power Sentry™ High Frequency Protection. At music levels that may damage your speak ers, the high frequency output attenuates automatically to a safe level. Normal level is restored once the signal level is reduced. Model P215H is one of three in the Power H Series from MTX. With a retail price of $479, it should be viewed as a good value for allpurpose DJ work. If you would rather go with a more conventional setup, check out the P15H. This is a 61pound two-way array with the same 6" x 8" horn and a single 15" woofer, priced at S399. The P12H features

MIX Power H Series Woofer

P12H 12"

P15H 15"

P215H (2) 15"

Freq. range (-10dB)

36Hz-20kHz

35Hz-20kHz

36Hz-20kHz

Sensitivity (Iw-lm)

94dB

95dB

96dB

Power handling (watts)

150RMS/600 Pk 200RMS/800 Pk 300RMS/1200 Pk

Max. Peal SPL

122dB

124dB

127dB

Weight

45lbs.

61lbs.

87lbs.

Price (MSRP)

$319

$399

$479

the same horn with a 12" woofer in a 45-pound package, at $319. In comparing the smaller two-way with the big dual P15H, the biggest difference is the expected drop in bass output. The clarity and sound quality of the PHI2 is just as impres sive. For smaller jobs or karaoke, the P12H will do the job fine. If you need the bass, either add a sub, such as the MTX Power SI5, or go with the P15H. For more information, contact MTX at (800) 225-5689 or check out their Web site at www.mtxaudio.com (*Nu-Traxx are available only in Canada from Entertainment Resources Group)

63>CHANNELS S 1OOO UHF TRUE DIVERSITY RECEIVER 411UDR

Finally there's a quality UHF wireless microphone system, at a reasonable price. The heart of our new system is the 411UDR, PLL synthesized, dual conversion superheterodyne, true diversity UHF receiver, with 63 user-selectable channels, balanced and unbalanced XLR and 1/4" outputs, tone squelch, output volume control, status LEDs and an optional rack mount kit. The 41 HT handheld and the 41 BT bodypack transmitters are frequency agile and utilize surface-mount technology for superior reliability. For under $1000 Azden redefines the parameters by which cost effective high-band wireless will be judged. For literature, and specifications, write to: CHARGE IT! The 41 HT handheld can be used with either 2 AA alkaline, or, our exclusive rechargeable NiCad battery, and you can charge it with our optional (AMC-2A) charging station. 147 New Hyde Park Rd., Franklin Sq., NY 11010 (516) 328-7500 • FAX (516) 328-7506 E-MAIL-AZDENUS@AOL.COM Azden Home Page: http://www.azdencorp.com

MOBILE BEAT

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TECH TALK

BY GEORGE MOHR

Before you head out to play a monster prom, ask yourself, "Do I Have THE POWER?"

ot long ago, in the middle of an early winter snow storm, a customer walked into our store with a complaint. He accused me of selling him the wrong amp for his speakers. Hmmmmm, very interesting indeed. The amplifier's power rating was certainly sufficient, although he could've used a larger amp with his particular speakers. "So why didn't you sell me the biggest amp to begin with?" he asked loudly. "You wanted to save money, so I set you up with the proper system for what you were doing, which was backyard parties and small weddings," I calmly replied. So he says, "Well now I'm doing all that plus block parties, sweet sixteens and high school func tions and the system just doesn't have enough power." I had to agree. To make a long story short, he had outgrown his system. His amp was fine three years ago, but now it was too small for his needs. Many DJs have a single system, but do many different types of functions. This is fine in most cases. But some DJs are using systems that are much

You should always power your speakers with an amp that is rated for at least the RMS value of the speaker. You can go as high as the peak value, but not beyond. For ex ample, a speaker is rated for 350 watts RMS and 700 peak. Your amp should fall in between these ratings, favoring the upper end. Remember, when your amp over loads because it is too small, it will distort. Distortion is what kills speakers, not overpowering (within moderation, of course). smaller than what is really needed. They end up damaging their gear by pushing it beyond the limits. No one should even attempt to use the same system to do a backyard party as you would use for a 500-person high school prom.

WHAT'S YOUR LINE? First thing you have to consider is the size and type of parties you are going to do. Generally, you are going to need much larger, or more speaker cabinets, to play for a crowd of 200 or more than you

MOBILE BEAT

HERE'S A QUICK RULE-OF-THUM& GUIDE FOR PRE-ESTIMATING THE POWER YOU'LL NEEP FOR A GIVEN GIG People: Functions:

Sueakr #: 150w

2 way 15"

100

Large sweet sixteen, small high school parties, college gigs

400w

3 way 16" /Double 15"

200

Large high school or college party, large weddings

600w

3 way 18"/Double 15"

50-100 Large outdoor party, small block party

400w

3 way 10"/Double 15"

100

900w

3wav10"/Double15"orBi-Ami

1600w+

Multi-Cabinet or Bi-ami

Large high school functions in or outdoors, teen discos

200+ Very large functions (typical outdoor or gymnasium type functions) would for anything less. There's a much larger area to cover and the last thing you want to hear is "crank it up so everyone can hear it." The fact is that the people who are close to your sound system will be impaled by the

2,4 or more

sound, but by the time the sound gets halfway past the dancefloor, it is lost in the crowd.

more than one pair); what about your amp? Are you driving die speakers with too small an amp?

WHAT NEXT?

FUNCTIONALITY

OK, so now you have big speakers (or

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two parties with 200 people, the sound system, while fantastic for one party will be totally inad equate for the next? A 200person retirement party, requires a totally different system than a 200-person post-graduation party for high schoolers. Again the second system should have much larger (or more) speakers than the first scenario. Also you should have much more power for the spring breakers. So now that you have concluded that you need a bigger system for certain parties, how big and what power do you need? The chart on the previous page approximates what you should have for a certain function. (Note that these represent the bare minimum requirements and power is rated per channel.) The chart is just a guideline. Use your judgment on what power you should have and how many speakers you should take to a gig based on the type of function. Also keep in mind that systems vary depending on the type and efficiency of the speakers used. I based everything on using standard bass reflex enclosures. Obviously, if you own a pair of Cerwin Vega L36 Jr Earthquake bass bottoms, then that may change things a bit! Join me next time when we conclude our discussion with the finer points of how to choose the right speakers for your system. Should your personal needs be more specific, just drop me a line at (516) 667-2300. Or write me at Abracadabra, The DJ Pro Shop, 1153 Deer Park Avenue, North Babylon, NY 11703.

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the TOUJCR The TOWER is a unique, podium design, free-standing Mobile DJ sound system created by a Mobile DJ. The Tower is comprised of two black carpeted stacking cubes, (just 49" tall includ ing 5" casters) and features the best pro DJ equipment available to handle any size venue. The top cube features a dual diversity Shure SC wireless mic system with head worn AKG 310 mic plus SM58 handheld mic. Next, the famous Denon 2700F dual CD player; with jog wheels, sampler, looping, track and disc memory, plus ±50% pitch control. The Shure and Denon are connected to a Rane MP24. Next in the audio chain is a Goose Juice Power Distribution System. As an added bonus there also is an "IJ Custom" patch panel making equipment changes simply a matter of plug-ins. There are three access covers to facilitate entry, an a/c Hubbell connection on the side, and handles.

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The custom designed bottom cube features the awesome sound and fidelity of dual Crest CA-9 amps (rated at 800 watts per channel at 4 ohms); driving a single Apogee, low distor tion, long throw 18" fluid cooled subwoofer (35HZ-105Hz); and two Apogee compact 36 Ib. (rated at 121 dB), two way satellites; complete with its dual-channel Apogee model P-3 PAR user adjustable protection circuitry processor. The bottom cube also features front/rear ac cess panels to facilitate entry, two a/c Hubbell connectors, and handles. Included in the package are all the custom length Neutrik speaker cables, signal cables, and two Ultimate TS-33BT speaker tripods with tote bags. Total system investment was $15,984. Your Investment today $9,591 complete. Data sheets available via fax upon request. If you are serious about your sound, your presentation, and ease of mobility then you should invest in the TOWER... The only system where your competition looks up to you! Call Jake at NITE SKYY SYSTEMS at 716-385-6958 NOW!!

MOBILE BEAT

* *

Technology that sets us apart. GMX-ONE The three channel GMX One is the first of its kind to feature V'CA faders and crossfaders, unlike analog faders, the GMX One uses a DC Voltage controlled microprosessor to adjust the audio signal.The GMX One also features a "soft" start circuit, 1 mic, 3 phono, & 2 line inputs.

IMPERIAL The ultimate D] audio mixer utilizing the best in digital technology.Bass, Mid & Treble on all music channels • Effects A&B assign • Multi channel cue • 13 inputs • Selectable mono / stereo output • Two separate headphone outputs • Replaceable crossfacle • Cue crqssfade • Cue & output BPM meters • Switch & rotary isolators / LED kill indicators « Output LEDs • Computer testing facility • Balanced outputs • Adjustable presets for output levels • Mic cut on booth output.

BEAT-PRO In addition to the features found in the GMX-One, each output channel has its own dedicated BPM window showing a three figure LED display (in either real time or average). The Beat-Pro's intelligent chip automatically adjusts for double and missed beats. 19" rack mountable.

Distributed by KAM USA • Phone (954)566*2997 Fax (954)566-9722

SCOOP

BY ROBERT A. LINDQUIST

Power Hungry? Numark sets the table with three new amps. tions. Speakers are connected by way of 5-way binding posts. Protection circuitry has been built in to guard against over-heating, short circuits and power-on transients. A limiter (with over-ride switch) is also provided for speaker protection. After a brief stint with an SA5500, we concluded that the amp was defi nitely in the big leagues as far as sound quality, design and construction. We can't predict long-term reliability, but found no reason to doubt the manufacturer's claims. To assure you this is an amp that can handle the rigors of the road, Numark is backing them with a three-year warranty. For more information, contact Numark Industries, 11 Helmsman Road, North Kingston, RI 02852; tel: (401)295-9000; Web site: www.numark.com

In such a complex, fast-paced and high-tech world, it's refreshing to find a product that succeeds using the simple approach. Case in point: Numark's new line of professional stereo amplifiers. By keeping the basic circuitry as simple as possible, the designers have been able to reduce the number of components. This, in turn, shortens the signal path and increases reliability. The result is three amps built to deliver excellent sonic clarity over the long haul. Built for 2, 4 and 8 ohm operation, the SA3000, SA5500, and SA9500 are ideal for Specifications: mobile as well as install applications. In typical Numark Professional mobile applications (with 8 ohms speakers in Stereo Amplifiers stereo mode) the SA3000 is rated at 150 watts. (Output per channel) This makes it a great choice for mobiles using 12" and 15" two-way systems. The mid-range SA3000 - MSRP: $586 SA5500's 270-watt rating positions it as a good Stereo: 300W @ 2Q, 240W @ 4Q, 150W @ 8Q driver for subwoofers and larger two- and Bridged: 540W @ 4Q, 420W @ 8Q three-way systems. At 400 watts, the SA9500 SA5500 - MSRP $700 is clearly the one to go with when you need to Stereo: 550W @ 2Q, 430W @ 4Q, 270W @ 8Q fill a large hall. In bridged mono, the SA9500 is Bridged: 1100W @ 4Q, 850W @ 8Q rated at 2000 watts putting it on the list of potentials for high power applications. SA9500 - MSRP $930 Each of the amps feature separate front Stereo: 1000W @ 212, 650W @ AQ, 400W@ 8Q panel detented gain controls and clip indica Bridged: 2000W @ 4Q, 1300W @ 8D. tion LEDs. On the back panel there's a stereo/ monobridge/parallel switch and ground lift All models switch, along with connection points. For Frequency response (8Q, 20HZ-20kHz@lwatt) +0, -IdB inputs, Neutrix connectors for both balanced THD: 0.1% (XLR) and unbalanced (1/4") are provided Signal to Noise: 102dB along with a barrier strip for hardwire applica

MOBILE BEAT

Colorado Blaster Gemini Twins Gemini Sound has introduced the affordable XP-800 and XP-1200 19" rack-mountable professional power amplifiers, both of which use a 3u rack space and and feature short circuit/DC/thermal protection. Recommended for fixed installations and mobiles, the XP Series offers two-speed fan cooling, stereo to mono bridge switch, ground lift switch, level controls, XLR and 1/4" input jacks, 5-way binding posts and three Neutrik Speakon outputs. The XP-800 has an output of 400 watts per channel @ 4Q, 250 w.p.c. @ 8Q and 800 watts @ 8Q in bridged mono. Gemini's XP-1200 puts out 600 w.p.c. @ 4Q, 400 w.p.c @ 8Q, and 1200 watts @ 8Q in bridged mono. For further information and prices contact Gemini Sound ProdÂ ucts Corp., 8 Germak Drive, Carteret, NJ 07008. Tel: (732) 969-9000 Fax: (732) 969-9090.

When they want more than music and lights... give 'em a blast from this new Mobile Stage Mortar from Colorado Sound N' Light. The professional 2" by 16" high powered device will shower any crowd with colorful streamers and sparkling confetti. The barrel can be adjusted to any angle. You can set it off from up to 25' way with the remote control hose with firing valve. Comes with everything you need to attack your next party including a starter pack of streamers, aerofetti and turbofetti. MSRP: $150 from Colorado Sound N' Light, 7301 N. Broadway, Denver, CO 80221. (888) 429-0418.

From Point "A" to Point "B" Hassle Free If getting there (Point A) and back (Point B) is half the battle, then a Wells Cargo enclosed trailer is your secret weapon. In the mobile enterÂ tainment business, time is money. A Wells Cargo can save you both. Not only can you cut your load/unload time in half; you get a free rolling billboard as well. Expect at least 15 years of reliable service from your Wells Cargo . . . every time out! Wells Cargo is the sound saving, image making way to go. Ask about our Leasing Program. WELLS CARGO

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The DJ Magazine

We may not be at war, here's somethingfor those events where the dancefloor is more like a battlefield (or at least a riot?). U.S. Military Hummer sports its new sound system, featuring Technotnad speakers and a QSC PowerLight amplifier. A Technomad ProRack J.U flight case keeps the QSC safe from the elements.

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QSC mi fetai isi? colfsC ari crate *i: Want to take your business to new heights and depths? Here's the rig for you. Be it a wedding in the wetlands or a cltffside birthday party, this rig will take you where no Mobile DJ has gone before. In reality, you may not need a Hummer to get to your gigs (although that would be very cool), but durable, mobile equipment is a must. The U.S. Army recently completed a quest for portable, yet rugged sound sys tems. They chose Technomad Berlin 15/H loudspeakers and QSC PowerLight 2.0HV power amps. They intend to use the team in field and mobile applications that include MWR (morale, welfare and recreation) battlefield simulations and psyche warfare ap plications, as well as general public address applications. Combining super-rugged U.S. Armed Forces road case technology and acoustic innovations, Technomad builds compact and durable loudspeakers that are not only powerful and musically accurate, but also meet military standards. As a re sult, Technomad loudspeakers are virtually indestructible and are now used by all the military branches. 58

QSC's PowerLight amps were a natural choice to accommodate the setup. The amps offer excellent sound quality, reliability and durability. Their low-end re sponse and clean sound turn the Technomad cabinets into high-tech audio weaponry on the battlefield. Among the many QSC PowerLight features are advanced thermal protection and Output Averaging™ short circuit protection. QSC Audio Products is a manufacturer of amplifiers, signal processing, and com puter control systems for professional audio markets worldwide. For more information, contact QSC Audio Products Inc., 1675 MacArthur Blvd., Costa Mesa, CA 92626; tel: (714) 754-6175; fax: (714) 754-6174; e-mail: info@qscaudio.com; Web site: http://www.qscaudio.com Technomad Inc. is located at: 20 Park Plaza, Suite 481, Boston, MA 02116; tel: (800) 464-7757; fax: (617) 451-8999; e-mail: info@technomad.com; Web site: www.technomad.com

MOBILE BEAT

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PROFILE

BY RYAN BRIDGES

Hie AMS Recipe for Success T

he secret of success is simply a combination of two essential ingredients: inspiration and perspiration. The inspiration comes from a concept or idea that has appeal in the marketplace. The perspiration is the hard work it takes to get the public to buy the concept. The better the idea, the less work it takes to make it a hit. During the mid to late 1980s, the concept of operating a Mobile DJ business became an inspiration for entrepreneurs looking for an exciting and potentially profitable business opportunity. At the time, it was a level playing field. The amount of success each new DJ attained was proportionate to the skills they brought to the table and how hard they were willing to work. Most DJs who became successful did so with skills acquired at the school of hard knocks. And while they were ultiÂ mately successful, much time and energy was spent on learning the ropes. The DJ success stories of the '80s moved into the '90s with a far more organized and businesslike approach. There was a greater awareness of the value of a strong business plan and marketing program. The result was a growth in larger, multi-system DJ operations, and a better bottom line for the smaller "Mom and Pop" operations. Some of the larger companies began looking for ways to take their services to the next level. For some, the next step was franchising. Franchising is the method in which a business with a proven system sells the right to use that system, along with the right to use the name of the business to another party. By franchising their operations, companies can continue to benefit financially from their past, present and future efforts, while offering smaller operations a way to grow to a much higher level. Among the best known franchises are restaurants as Wendy's, Burger King and McDonalds. But franchising goes way beyond these everyday names. Virtually any successful business system can be fran-

chised. The stumbling blocks for many potentially franchiseable systems are the strict and varied laws that govern franchising in each state. As a result, franchises that may be available in one state may not be in another.

ENTERTAINING FRANCHISE IDEA American Mobile Sound (AMS), a Mobile DJ franchise corporation, started as a Mobile DJ service in 1991. AMS made a name for itself in the Southern California area by exemplifying professional business conduct and superior customer service. Lifted by their success at the local level, partners Rick Grossmann, Tad Clark and Steven McNeil were challenged for ways to take their concept to a higher level. Franchising seemed to be the logical route to reach their full potential. As a trio, the owners have extensive combined experience. Grossmann, 29, brings 14 years of DJ experience. Clark, 32, adds seven years of sales management experience. Thirty-year-old McNeil comes with first-hand business management and administrative experience from a separate entrepreneurial venture of nine years running. From being a DJ and running a system, to implementing a marketing strategy that yields results, the bases are covered. AMS began franchising in September 1994. Franchise development coordinator Tad Clark got the program underway, making sure all legal fees and government regulatory requirements were covered.

WHY A FRANCHISE? What are the benefits of being an AMS franchisee? According to Rick Grossmann, the number one reason is the comprehenÂ sive training program which enables an operator to expand their business without sacrificing quality. With the training program, a skilled and professional crew of

DJs can be developed in the shortest amount of time so that the business can handle 10 or more events each weekend instead of just one or two. To excite that growth in bookings, the AMS franchise program includes an aggressive marketing program that utilizes proven tools and techniques. Music is automatically updated monthly so time spent researching industry trends can be devoted to marketing. In addition, the time-wasting burden of preparing music catalogs, brochures, training manuals, and other operational pieces is delegated to the franchisor. Along with the material benefits of being an AMS franchisee are intangibles such as the credibility that comes from being affiliated with a professional national company. The Southern California franchisor presently has 28 franchises in 11 states. Franchisee Scan Dasmann, 28, is the owner of three AMS franchises, in San Luis Obispo, Santa Barbara and Ventura, all purchased in '95. Until joining AMS, Dasmann owned and operated Digital DJs, a private Mobile DJ business. Digital DJs' headquarters was in Pismo Beach, AMS's home office was in Santa Barbara. "We were actually competitors," Dasmann comments. Even though Dasmann had a part-time operation with Digital DJs, he wanted MOBILE BEAT

more. AMS offered him the ability to be a full-time operation. Inevitably, he joined forces with his ex-competitor and, as spelled out by the franchise agreement, began paying seven percent royalties. But paying royalties wasn't hard considering the ultimate return. For Dasmann, the amount of support received from the corporation is well worth it. AMS provides new marketing ideas and training methods, as well as the opportunity to network with other owners. Growth and expansion are goals Dasmann has accomplished with help from AMS. During his last year as an independent, Dasmann had six systems and did about 300 events. "My first year with AMS, I went from six systems to 10 systems and did 600 events. My second year, I did 780 events with the same 10 systems. Now I'm a part of a bigger family... I have constant input on how to make my business grow to whatever level I choose," Dasmann says. But you don't have to match Dasmann's ambitious undertaking. "A franchise owner can hop on board with only one system and do five or six events per month. They don't have to grow their business to 10 systems and do 500 events per year," Dasmann conveys.

THE BOTTOM LINE The cost of an AMS franchise runs between $6,000 and $25,000 depending on the area served and whether or not the service needs to purchase music and equipment through AMS. Financing is available to make it affordable to almost anyone. Exclusive territories are determined by population. Tad Clark works with potential owners to determine the size and scope of the territory that best serves both their short and long-term goals. Territo ries are determined on a first-come, firstserved basis. Existing owners can purchase additional territories for half the franchise fee and they are always given the right of first refusal if someone is interested in an adjacent territory. While it's true that the vast majority of DJ service operators still choose to go it alone, AMS has proven in a relatively short period of time that a solid franchise system for DJs has great value. It is an especially enticing idea for anyone in a super competitive area or for the novice who wants to focus their energy toward building a big DJ operation. For these entrepreneurs, Grossmann, Clark and McNeil and the franchise network make it known that AMS produces results. It's free enterprise in the purest form. J

The DJ Magazine

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SCOOP

BY STEVE "ISLAND JAKE" JACOB

Introducing the Necklace Pro mixer line from Italy.

ver the last few months, we've seen a real trend in mixer faceplates. White on black, which was a standard for so long, is on the way out. Wild new color schemes are in, with blue seeming to be the most popular. The newest and bluest line of pro DJ mixers is from an Italian company called Necklace and the brand name is ESO (taken from esoteric). The series leads off with four models and two on the way. At the low end is the ESO One. With two switchable stereo inputs, one balanced mic input, four stereo outputs for house, booth, record and headphones, it's easily one of the most feature laden "battle-boards" I've seen to date. The next unit is the ESO Hip. It has the same stereo inputs as the One plus an extra input that is balanced mic/line switchable. The five separate stereo outputs include a balanced Main, Monitor, and an unbalanced Record, plus a unique dual head phone section for listening to the PEL (Pre Fade Loop) or cue, and House mix simulta neously. As an added bonus there are three red LED beat indicator lights to allow you to visualize the impending mix. The third unit in the group is the ESO Plug; which features four selectable stereo input channels and two balanced mic inputs. The output stage features one balance main, unbalanced monitor and record, and head phone. Also a Peak/Hold switch is provided for the meter. The fifth model in the group, ESO Verse appears to be the perfect mixer for the venue that features live music, karaoke and DJ. Flipping a few switches transforms this 10-input DJ mixer to a six-mic, four-stereo line live mixer. Subgrouping and aux sends complete the overall description, but we'll have to wait until spring for this one. Visually, the ESO mixers share a dual channel 12-step vertically mounted (except the plug, which is horizontal) LED output display. The graduations start at -20 and end at +8. A third vertically mounted LED display is positioned to the right of the output display for the cue or PEL section. This display proves to be beneficial in matching the cue and program levels for more accurate red-hot mixing capabilities. The family lineage is also apparent in the use of a three-band parametric designed equalizer for each input. The uniqueness of the EQ won't leave you feeling blue while you adjust for Muddy Waters. Each rotary pot is dressed in black with sunflower yellow indicators; all wrapped in supple detented rubber jackets. All pots feature a generous

MOBILE BEAT

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SCOOP: ESO ±15db swing, while the low cut-off starts at 70Hz, (not the usual lOOHz). I suspect this is done to take more advantage of today's music content that is heavily bass laden. The mid and high cut-offs are the more traditional 1KHz and 10KHz, respectively. Another ESO line feature is the individual input gain controls, perfect for those times when one source output signal is lower than others. Adjusting these pots instead of the mains will avoid the dreaded "I forgot to readjust my mic level" blues in the heat of the moment.

It's rather incredible and commendable that the ESO One, the least expensive board, features the same specs as the top of the line ESO Pro and Verse.

MEET BIG BLUE I recently had a chance to evaluate an ESO Pro, purported to be "the DJ mixer." Visually, the Pro shares the same UV blue color scheme that separates the input section from the rich black output section. The Pro has six stereo inputs, including two switchable and bal anced mic/stereo line inputs. Muting and a Peak/Hold switch are added as nice touches. The main and monitor outputs are balanced, plus there are three unbalanced outputs. Two of the three are dedicated to recording with the option of muting the mic level. The sixth and final output is for the headphone. This may seem insignificant... until you hear the quality of this output. Where the

sound quality of the headphone feeds is overlooked on most mixers, the Pro contains a quality headphone amplifier and ties it to the EQ section for one of the most sonically accurate and pleasing headphone signals I've experienced. My Studio AKGs confirmed what my ears already identified from using my cue cup. Each input/output, plus the input assignable crossfader, features the same ergonomically designed profes sional sliders; the only difference being the crossfader and the output sliders are sunflower yellow with a

SPECS

Eso Hip

Phono Input Sensitivity Phono Input Impedance Mic Input Sensitivity Mic Input Impedance Line Input Sensitivity Line Input Impedance HighEQ MidEQ LowEQ Frequency Response Main Output Level Max Output Level Main Output Distortion Main Output Impedance Monitor Output Level

2mVto20mV@ll(Hz 47KQ L6mV (balanced) 1KQ (balanced) 775mVto2.45mV 10KQ ±15db@10kHz ±15dh@lkHz ±15db@70Hz 20Hz- 20kHz ±3db JIM (balanced) g.5Vrms(+21dB) <0.03%(20Hz-20Khz) 330Q .TTSmV (unbalanced)

Eso Pro 2mVto20mV@lkHz

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1.6mV (balanced) 1KQ (balanced) 775mVto2.45mV 10KQ ±15db@10kHz + 15db@Mz + 15db@70Hz 20Hz- 20kHz ±3db 1.55V (balanced) 8.5Vrms(+21dB) <0.03%(20Hz-2QKhz) 330Q J75mV (balanced)

black horizontal center strip; the inputs are visa-versa. The only minor flaw I noted was the sliders seemed dry. They made a slight scratchy sound (not audible through the system) when moved. This may be nit-picking, but I believe this slight adjustment to match the buttery smoothness of the rotary pots would go a long way to improving the overall tactile experience.

POWER AND SOUND The ESO Pro, as well as the rest of the family, use a curious 15v power supply. It's not mounted internally, which could cause noise, nor is it the common "wall wart." The actual transformer is a typical looking rectangular black box with two tails attached on opposite ends (similar to Rane). One end is the standard two prong AC plug, while the other features a five pin din type plug. Not being an electrical engineer, my guess is this contributes to the overall sonic excellence of this board; especially considering the power needs of the expanded 15db sweep and the 70Hz low EQ threshold. It's rather incredible and com mendable that the ESO One, the least expensive board, features the same specs as the top of the line ESO MOBILE BEAT

Size wise, the height of the ESO is comparable to the Blue Danube. It eats up rack space like a piranha. Super for club use but if you have little room to spare in your mobile rig this could cause a problem.

Pro and Verse. The main output level in the Pro and Verse is two times that of the One and Hip, but all impor tant frequency response numbers are identical. The Pro and Verse exhibit a 2db increase in signal-to-noise ratio, but at 90db the One and Hip are by no means anything to get blue over. It just goes to prove that a board doesn't have to have a lot of inputs and outputs to be sonically superior. Compared to the Rane MP24, a benchmark for sonic clarity, the numbers, including signal-to-noise, are pretty similar. The frequency response on the Rane is greater than the ESO and the power supply is more powerful. Now for the dimensions. The ESO line goes with the standard 19inch wide, but the height is a full 5 inches greater over the Rane MP24's modest 7 inches. The MP24 is almost a full inch deeper, at 5.3 inches, but the ESO is almost 4 pounds lighter.

LETS TALK GREEN

Test Bench? Other products used in this review included: Share SC wireless microphone Denon 2700 CD player Crest CA9 amplifiers (2) Apogee AE-SB subwoofer speaker (1) Apogee AE-3s2 satellites speakers (2)

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You should spend good money on a good mixer. For $600 retail, the ESO Pro is a very good product. The twochannel ESO One lists at $299. The three-channel Hip is priced at $379, and the mixer that is likely to find the most favor with mobiles, the ESO Plug, lists for $499. As with any new line, reliability over the long haul is anybody's guess, but with ESO it looks like we've got a good product that won't change its colors once you get it home. For more information, contact Pacific Supply & Trading Company, 3091 North Lima Street, Burbank, CA; tel: (818) 558-1061; Web site: www.pstco.com

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MID-PRICED

MIXERS I

f your taste in mixers favors cham pagne but your budget says microbrew, there are a number of mid-priced mixers on the market with an excellent complement of features and performance.

WHAT TO EXPECT Technology doesn't come cheap so don't expect to find a lot of digital gadgetry on a mixer in the $400-$600 range. But you can expect improved performance specs, better faders, and greater versatility than mixers less than $400. You will also find less parity in features and performance among midpriced mixers simply because the price point is high enough to let mixer com panies with on-site R&D and manufacturing compete in this market. To put it another way, if you're looking to buy a $25 wristwatch, you have an endless selection to choose from but you still end up with a $25 watch that's probably manufactured from the same factory as all the other competing brands. On the other hand, shop for a $300 or more watch and your field of choices begins to narrow con siderably because there is a greater demand for quality in this range. The

FOR MOBILES LOOKING FOR A MIXING WORKHORSE, THERE ARE PLENTY OF POSSIBILITIES IN THE MID-PRICED STABLE. BY HENRY COLLINS

same holds true for DJ mixers. The $400-$600 price range is where we start to separate the men from the boys.

BALANCED OUTPUTS If you're looking for a mid-priced mixer with balanced outputs, the selection narrows to two models. American DJ Supply offers the XDM-352 priced at $410 and there is DJM-6B from Furman priced at $555. Naturally, with more than a $100 price spread between the two mixers, you can expect to find some obvious dif ferences. First and foremost is the Furman name and reputation for con tractor-quality electronics. This fourchannel mixer offers six stereo inputs, balanced XLR stereo and mono sub outputs, and a built-in Punch™ bass en hancement system for exciting, highenergy, chest-pounding bass reproduc tion. I had occasion to use the XDM-3 52 to evaluate its features and perfor mance. I was amazed at the level of quality manufacturing found at this price point. In fact, I installed it at a club to see how well it would hold up to nightly abuse and it came through with flying colors.

The XDM-352 from American DJ Supply The XDM series is American DJ Supply's recent entry into the DJ mixer market. The XDM-352 is the flag ship mixer with balanced main and separate booth outputs for zone applications. This full-size, 19inch rack-mountable unit features four stereo in put channels, assignable crossfader, Neutrik (combo) DJ micjack and dual seven-band equal izer to name just a few of its quality features.

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WHY BALANCED OUTPUTS? Balanced audio inputs and outputs offer better noise cancelling than un balanced connections. For this rea son, balanced lines are always used in sound applications where long cable runs are required, as in live concerts and permanent sound in stallations. While unbalanced con nections are fine for short runs up to 10 feet with quality cable, if you need to distribute a low-voltage program signal over a greater distance, switch to balanced connections. If the back of your equipment rack is teeming with wire growth, a virtual jungle if you will, you may want to seriously consider switching to bal anced connections, especially if your system is plagued with low-frequency hum. This hum may be caused by unbalanced input cables running par allel to power cords or too near a poorly shielded transformer. Using balancing connection may help to correct this noisy problem.

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DJSHOPPER LESS IS MORE! QUANTITY VS. QUAUTY Some of the most important "be hind the scenes" components found on a DJ mixer are the input channels. Input channels are a ma jor factor in the signal-to-noise ratio and total harmonic distortion of a mixer. Thus, a mixer loaded with high quality input channels featuring top-notch faders will de liver much quieter operation and longer, more reliable operation than a mixer that features "bargainbin" input channels and faders. Top-notch input channels featur ing pro-quality faders such as ALPS or those employing VGA technology cost manufacturers a substantial amount of money to de velop and produce, and therefore constitute a large portion of a mixer's overall price. In order for a DJ mixer equipped with input channels of this caliber to fit in our mid-range $400 to $600 price point, the manufacturer must limit the num ber of input channels found on the mixer. Therefore, do not purchase a mixer that has more input chan nels than you need. A $500 mixer with two input channels is obvi ously going to deliver much higher quality than a $500 mixer with five channels. Thus, you can expect to find top-quality, low-noise input channels on most of the two to four channel mixers in the mid-range price point. If you are shopping for

a mixer with five or more channels, you will probably have to jump over the $600 price point to find a unit of equal quality. Among the mixers reviewed, the highest level of input channel and channel fader quality was found on two three-channel units. The $569 GMXONE from KAM USA, and the $390 PMC-17A from Vestax. While the $569 price tag may be considered slightly high for a threechannel mixer, the GMX-ONE deliv ers quality, rugged construction and design innovation. The VGA faders in-

AT THE WIRE Just before going to press we learned that Vestax will be introducing a new DJ mixer with balanced outputs for un der $600. Scheduled for release in January, the PMC 15 MK2 is a 19" mixer featuring 3-band EQ (+6/-26dB) per channel with 3 phono, 5 line, and 3 mic inputs, 2-band mic EQ, assignable crossfader, split/master selectable cue system, XLR and 1/4" master outputs, and a 1/4" sub master output with dedi cated volume control. The PMC-15 MK2 will have a sticker price of $450.

corporate digital circuitry that prevents the actual analog signal from ever com ing into contact with the fader. This tremendously reduces noise, and sig nal degradation. The unit also features three-band EQ and input trim controls on each channel, cue mix, independent master and booth outputs, and a silkysmooth, VGA crossfader.

The lower-priced PMC-17A features Euro-styling intended for the Trans/Techno DJ. Quality ALPS faders are used throughout. (ALPS faders are recognized for high-quality performance, and can be found in many of the top-qual ity DJ, recording and broadcast mixers currently available.) The unit also features an effects loop with individual Send and Return controls plus a bright, 10-segment stereo VU meter and rugged in put source selectors for worry-free transformer-style effects. The one complaint that is almost certain to be noted is the unit's 10-inch wide chassis. Looking beyond this small physical handicap, the PMC-17A is a fine mixer offering solid per formance at a comfortable price.

SAMPLING SAMPLER MIXERS One would think that a good sam pler mixer would be priced well above $600...and for the most part, you're absolutely right. A good sampler mixer capable of creating a sample with CD-quality audio requires 16-bit digital technology, the same type used in PGM (pulse code modulation) recording. This technology doesn't come cheap. In addition, storing the finished sample requires lots of RAM (ran dom access memory). For ex ample, recording a 16-second sample without linear compres-

Stepping back to move forward A departure from many of today's gadget-laden mixers, the KAM GMX-ONE (reviewed in the January 1998 issue), is a perfect example of moving forward by going back to basics. The mixer's simple and uncluttered top panel provides the DJ with ample work area for fast and furious mixing. One of the mixer's most notable features is its VGA (voltage controlled amplifier) crossfader and channel faders. This level of technology is generally found on more costly mixers such as the PMC-05 PRO from Vestax with its "photo coupler" crossfader. In short, the KAM GMX-ONE is a fine example of what a "quality first" mixer is all about.

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Sound Ideas provides a great mix of everything the mobile DJ needs for a solid gig!

The slim line per former from Vestax

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The three-channel PMC-17A from Vestax, with its 10-inch wide chassis, is designed for today's techno-mix DJ. The mixer features a full complement of controls in cluding three-band EQ on each input channel, in addi tion to an effects loop with separate Send and Return controls. Suggested retail price is $390.

sion would gobble up .7MB (705,600 bytes) of RAM. To bring down the cost of a sampling mixer to within of most DJs, some manufacturers have employed less expensive 12bit digital technology and a lower sampling rate. The trade off, of course, is audio quality but a well-designed 12-bit sampler can sound better than a poorly engineered 16-bit sampler. The MX3000 from MTX is an excellent example of a well engineered sampler mixer. Priced at $599, the fourchannel MX3000 offers up to 16 seconds of 12-bit digital sampling with record quality approaching hi-fi standards. From Gemini comes three sampler mixers priced well within reach of even the most budget-critical DJ: the 12-second PDM-4012 priced at $359, the 12-second PDM-6012 for $409 and the PDM-7024 with 24 seconds of sampling time for just $479.

SMART EQS! Do you think a three-band EQ, is a three-band EQ, is a three-band EQ? It may surprise you to find out that all equalizers are not created equal! The first point is the number of bands offered. Obvi ously, a three-band EQ with bass mid and treble will give you better control over the signal and offer more creative flexibility than just bass and treble tone controls. A threeband EQ on a mixer's DJ mic channel can help "sharpen" the sound to better cut through crowd noise, particularly when using lower quality mics. It can also be used to match the sound of the main mic with the sound quality of wire less. The second important variable is whether a single equal izer works on the master or if separate EQs are provided for each channel. A single stereo EQ for the mixer's master output works well for tailoring the master output signal and in reducing feedback problems. If you do not intend on us ing the EQ for tricks, or advanced "remix" manipulation, then a single master EQ will be adequate. For DJs who heavily incorporate musicianship and creativity into their set, a single EQ will be inadequate and frustrating. An in dependent EQ on each channel allows the user to "smooth out" frequency variations between tracks, create virtual re mixes, and mix more creatively by independently "tweak ing and peaking" each channel's EQ. The DJ Magazine

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Sampling simplicity from MIX THE MX-3000 from MTX is a DJ-friendly 16-second sampling mixer offering a host of features and performance at a price within reach of serious DJs. The mixer's 12-bit digital sampler de livers near CD-quality recording for loop and stutter effects. Crossfade cueing, assignable/DJ replaceable crossfader and nine-band program EQ, sturdy input source selectors are among the mixer's front-line features. The MX-3000 accommo dates three turntables, five line sources and two mics and has a suggested retail price of $599.

The third important component in EQ effectiveness is the amount of cut and boost (measured in decibels/dB) exacted when used. This is a factor that is overlooked by many people when examining EQ. Most lower-priced mixers typically deliver 10 decibels maximum of cut and boost. This amount of manipulation is enough to alter EQ mistakes found in a track's production, but not enough to be used for special effects. Twelve decibels of cut and boost is an acceptable figure on mixers in the mid-range price point. Twelve decibels of boost using a fixed frequency point is nearing the ceiling of practical ad justment, as anymore than 12 decibels of boost would create potentially speaker/amplifier damaging signal peaks. Some mixers, such as the Pio neer line, offer 12 decibels of boost and a signal-slamming 20 decibels of cut. Twenty decibels of cut and above is

enough to do serious track remixing by practically canceling complete chunks of bass, hi-hat, and snare, for instance. Always check the cut/boost rating of a mixer's EQ before purchase! The higher the rating, the harder the EQ will work.

LOOK CLOSED AT CROSSFADERS! The crossfader is an equally critical component of mixer performance and reliability that is not always examined as closely as it should be. Many believe the only important element in crossfader design is its ability to be eas ily removed and replaced. While this is an important feature, other aspects such as assignability, the amount of plastic used in the crossfader construc tion, and perhaps most importantly the crossfader curve are overlooked. Naturally, if you use more than two input sources/channels when DJing, an assignable crossfader is a

necessity. If you use just two sources, the extra assignability is not a necessity. While it is almost impossible to view the internal configuration of the crossfader, especially before purchase, the feel will say a lot about its makeup. If a fader has excessive up-and-down or side-to-side (crossfading excluded) movement, chances are good that plastic is used in the crossfader's construction which will shorten its working life. The last important crossfader feature, crossfader curve, refers to points of the crossfader throw where the crossfading takes place. For example, a mixer designed for freestyle performance mixing will have a very "quick in" curve, mean ing that the crossfader only has to be moved 1/8 to 1/2 inch to make the track audible. On a mixer designed for smooth house style mixing, the

Affordable sampling from Gemini The PDM-6012 is Gemini's mid-line sampler mixer of fering up to 12 seconds of digital sampling time. A variable pitch control allows you to speed up or slow down sample play back to create a wide range of mix ing effects. The mixer also features an assignable/DJ removable crossfader, dual 7-band equalizer, 2-band mic EQ and separate main and booth outputs. The PDM6012 is backed by a three-year warranty and has a suggested retail price of $409.

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DJSHOPPER crossfader curve will bring the track in gradually over a longer fader throw. Your specific style and preferences, along with experimen tation, will determine the best curve characteristic for you.

COMPARE, COMPARE, COMPARE! Staying on top of the latest mixers hit ting this market can be a full-time headache. Our recent Gear Book fea tured 125 DJ mixers and we still missed a dozen or more. With all these mixers to choose from, the task of finding the right mixer may seem daunting. As with any major purchase, you will always fare better when armed with the most information. Above all, base your choice not on the number of flashy bells and whistles. To get the most for you money, buy a mixer that does what you need it to do. And buy it from a dealer who you know can help you out in a hurry if a problem should arise.

MORE OPTIONS Looking for a good, basic, reliable mid-priced mixer for your mobile service? Here are several good models to scope out. BST's HIFE 401, at $438, is a four-channel unit with inputs for four phonos, four lines, and one mic. There's a master output and record out. Other features include 3-band EQ and pan control on each channel and "Sound Boost" which provides a momentary 3db boost. Gem Sound's DS9905 at $499, a five-channel mixer with dual outputs has a 12second digital sampler, echo and reverb effects. Gemini's PS-727, at $459, is a four-channel mixer with inputs for two phonos, six lines, two mics and one aux. Main and booth outputs are provided along with record and send. Features include bass, mid, high and gain controls. GLI's GLX-8000, at $399, is a five-channel mixer with two main outputs. Inputs are provided for two phonos, five lines and two mics. Digital sound effects and echo are also standard. Numark's DM1600X at $485 offers four mix channels with three phono and seven line inputs. There's three bands of EQ and gain on each channel including the main mic and outputs for main, zone one, recording, effects and mono. Last, but not least, is the ESO Plug from the Italian manufacturer Necklace. At $499, this four-channel unit offers inputs for four phonos, four lines and two mics (with XLR) and outputs for a balanced (XLR) main, monitor and record. Features include professional grade faders, rotary pots and circuitry.

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Test Bench The following components were used in the product evaluation.

Rack: Odyssey CMC 11-14 Mixer: Pioneer DJM-500 Turntables: BST PR-136 ,| Cartridges: Ortofon Concorde NCE 1 Equalizer BST Process 10 Amplifier QSC Poweriight 1.0 Speakers: EVT251

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YAMAHA QY70

Yamaha Corp. of America P.O. Box 6600

BY HENRY CoiLiNS/B.J. MORRIS

THIS REMARKABLE MUSIC SEQUENCER FROM YAMAHA COMBINES PROFESSIONAL QUALITY SOUNDS, EDIT ING, EFFECTS, AND SEQUENCING IN A UNIT THAT'S COMPACT AND AFFORDABLE. It was a hot summer day in Franklin, Tennessee as we perused the various booths, and soaked in the culture during the annual Franklin Jazz Festival. We were here to relax and listen to the Southern-fried funk of the Wooten Brothers, but upon seeing the Yamaha banner calling our names from across the square, the techgeeks inside got the best of us. We were greeted by Tony Escueta, a product specialist and tech evangelist at Yamaha, who led us directly to a small, average looking unit at the back of the booth. According to Escueta, this little unit, the QY70, could do everything that an elec tronic music artist could ask for. Needless to say, we had our doubts. After a ID-

YAMAHA QY70 Suggested List: $599.00

minute tour of the unit, sev eral impressive demos, and a quick glance at the prod uct sheets, our skepticism was gone. Upon returning to Nashville we contacted Yamaha, and within a week we had a shiny new QY70 ready to review.

ON THE CUTTING EDGE! Any time a product comes across our bench that utilizes innovative, cutting edge technology, and offers new ways to tweak, twist, and bend the envelope of elec tronic music creation, we rejoice! Replacing the GM (General MIDI) based QY22, the QY70 delivers the quality, useable sounds, editing flexibility, and ef fects, that performance and production DJs have been searching for.

Perhaps one of its big gest advancements, the QY70 offers the enhanced capabilities of Yamaha's in dustry-accepted XG MIDI format. This format delivers, in a nutshell, more versatil ity, expandability, programmability, and scalability than previously available via the archaic, in comparison, GM format. Thanks to the XG format, the QY70 is able to deliver three programmable 24-bit effects, 519 24-way multitimbral preset voices, and 20 drum kits. The unit also features an ultra-sensi tive, two-octave mini-key board for direct tone control without the need for an ex ternal controller. If you de sire the use of an outboard controller, the unit features a MIDI input and output, as well as a unique "To Host"

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eight-pin connector. The advanced To Host connector allows the QY70 to be linked to your com puter, making it the ideal laptop music system periph eral. Yamaha-designed soft ware and driver are included with the unit, and are easily installed on your Macintosh, IBM/PC, or NEC com puter. Once installed, you can use the computer to con trol sounds and effects, per form real-time recording, and even file and store re corded data. Best of all, this system does not require you to purchase an expensive MIDI card, as it connects directly to your computer's serial, or modem port. Unlike many sequencers on the market, the QY70 features comprehensive, user friendly controls, and an easy-to-read display. As pre viously mentioned, the unit features a two-octave key board, with up/down octave pushbuttons. While the key board is not velocity sensi tive, the unit features full velocity, attack, and delay MOBILE BEAT

controls in edit mode. The QY70 features a 3 2-note polyphony, allowing the user to input chords in realtime. Chord, and chord structure information can also be entered after re cording via the QY70's easy-to-use chord mode, which automatically formu lates chord structure, and optimum bass (root) note. The unit's oversized 128x64 LCD display with contrast control provides easy, at-aglance monitoring. We liked the unit's display de sign. When selecting a menu function, the display shows the information in clean, easy-to-read, pop-up boxes. When editing filters and envelopes, the display shows a picture of the wave form that changes as you adjust the parameters. When editing track, vol ume, pan, and effect set

tings, the display changes to a mixer-style graphical lay out. These displays make editing and operation easier, and more accurate. Among the QY70's other professional features are four megabytes of wave ROM, 128 preset accompa niments, a whopping 24track 480 PPQ sequencer, 25-300 BPM tempo map ping, and complete quan tize and transposition record editing.

THE NITTY GRITTY After all of these techni cally baffling features have been covered, there are still a few important aspects to be considered. Perhaps the most important: Does the QY70's519soundsand20 drum kits sound good? Are they sounds that I can use? The answer is a resounding,

YES! Sound quality was the paramount concern when reviewing this product. Too many of die sequencers on the market today offer all of the "ooh, wow" technical goodies in the world, but are loaded with sounds that the most eccentric German DJs wouldn't touch. Most of the sounds on the QY70 are great, useable sounds. The drum sounds, espe cially, are top-quality. Many of the kit sounds, we were informed by Escueta, were sampled from Dave Weckl's kit. The kit sounds exhibit excellent production qual ity, and when used with a small amount of the on board effects, are some of the most "tasty," earthy sounds available. Another important aspect of the QY70 is its ease of opera tion, or "user-friendliness."

We would not be com pletely accurate if we told you that the QY70 is a piece of cake to get around on. This is not a piece of gear we would recommend to a beginning DJ or first time MIDI user. This product offers so much, and is so complex and in depth, that you will probably bash the unit into pieces out of sheer frustration if this is your first dive into the sequenc ing abyss. The QY70, and its literature, is geared to wards those with a moder ate level of programming experience under their belt. Simply stated, if this is your first sequencer purchase, understand ahead of time that mastering this piece of equipment will require considerable amounts of patience and time.

Two Necessary Tools For The Work Lights • LUMIN 7

Models Available

Hands Free - RUBBER-NECK See us at the 1998 Mobile Beat DJ Show & Conference booth #125 For More Information Contact: Ac-cetera Inc., 3120 Banksville Road, Pittsburgh, PA 15216 Phone: 1-800-537-3491 FAX: 1-412-344-0818 E-Mail: aaps@pgh.nauticom.net The DJ Magazine

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Test Bench The following components were used in the product evaluation. Rack: Odyssey CMC 11-14 Mixer Next PDJ 50 CD Player Pioneer CDJ-500 Equalizer BST Process 10 Amplifier QSC Powerlight 1.0 RTA: DODRTA Series II Speakers: EVT251, BSTW118CX ELECTRO-VOICE HIGH-Q Suggested List: $165.00 Electro-Voice 600 Cecil Street Buchanan, Ml 49107 Tel: 800-234-6831 Fax: 616-695-1304

ELECTRO-VOICE HIGH-Q

EV IS TAKING AIM AT "LOW-Q" SOUND WITH SIZZLING fflGH-FREQUENCYREPRODUCTION, INTELLIGENT DESIGN, UNPARALLELED COVERAGE AND TOP-NOTCH COMPONENTS. BY HENRY CouuNS/BJ. MORRIS If you have ever been un lucky enough to be stuck in the back, balcony, or corner of an old warehouseturned-nightclub, you have probably been disappointed by poor, muddied sound quality. While many of these venues sink thousands and thousands of dollars into renovation, they often overlook the acoustics. Happily enough, on the heels of such a problem comes an innovative solu tion from an equally inno vative audio company.

EXACTLY WHAT WE WANTED Introducing the High-Q long-throw, high-fre 74

quency loudspeaker from Electro-Voice. The HighQ is designed and con structed to add signal clar ity and a crisp, sharp "edge" to large club and concert applications that utilize standard "low-Q" sound reinforcement. "Q" refers/ to the accurate directivity of a system. If a system has a high "Q", the signal pro duced by the system goes where it is directed. One common method of "Q" measurement is called the directivity factor. The di rectivity factor for a typical stage system with 90 degree horizontal and 40 degree vertical coverage angles is

10. This is acceptable in a small, short-throw applica tion where only a few loud speaker systems are present. In larger, more reverberant applications, however, sys tems with lower "Q" suffer a dramatic loss of clarity and coverage. The High-Q, with its staggering directivity rating in excess of 20, is able to project razor-sharp, yet natural high frequencies into every corner of even the most signal-squelching room. In our indoor and out door testing, the High-Q radically increased the over all clarity and presence of our three-way system, and

added a tasteful amount of ultra-high 20kHz to 25kHz sizzle.

THE GUTS... With performance like this, we just had to look a little bit deeper. Our investiga tions turned up the results of countless hours of tedious product development by EV's stellar R&D (research and development) depart ment. At the core of the High-Q is a one-inch, widebeamwidth, titanium-dia phragm compression driver, with 300 watts maximum power handling capability. This advanced driver incor porates EV-developed con vex-drive Time Path (phas ing plug structure to pro duce silky-smooth, ex tended high-frequency per formance. EV's exclusive Resonant Drive) coupling technology reduces the amount of equalization re quired to taper the unit's 3. 5kHz to 2 5kHz frequency range. Directing this signal to the precise location is the

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job of the High-Q's 55 de gree/horizontal by 35 de gree vertical constant-direc tivity horn. Developed by EV in the 1970s, refined constant-directivity horn technology produces focussed, extremely accurate, controlled delivery of fre quencies above 3.5kHz. To prevent frequencies below this point from exiting the determined coverage area and creating "muddiness," the High-Q features an on board crossover with 3.5kHz crossover point. This crossover point also allows for noncritical matching to the main sys tem. To prevent any damage to the internal components, the High-Q comes equipped with EV-designed, self-resetting PRO protec tion circuitry. If the input

signal exceeds the driver rat ing, the PRO circuit auto matically reduces the power to the driver by six decibels. When the power is reduced to a safe level, the circuit resets. On several occasions during our testing, we delib erately overpowered the driver until the PRO cir cuitry enabled itself. The PRO did its job beautifully every time, and actually de livered slightly tapered sig nal reduction, making this drop less noticeable. All of these valuable fea tures are solidly protected by the High-Q's rugged polyethylene molded enclo sure. An integral 1-3/8 inch pole mount provides added versatility, allowing it to be used without expensive, cumbersome trussing.

OPERATIONAL TIPS

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The High-Q has been de signed to achieve optimum performance in medium to large venues. In these set tings, the unit operated with flying colors. In a small venue, the High-Q's excep tional efficiency and ultrahigh frequency response proved to be overbearing, and piercing at times. Keep ing this in mind, operate the unit only in a venue that is large enough to comple ment its design. The HighQ is not intended to be used with a low-frequency cabi net as a two-way system, as the unit is not a midrange driver. In our testing, the High-Q was best utilized in addition to our pre-designed three-way system. This unit is not intended to replace your existing PA components, but rather to add presence and "crisp-

ness" to the system's overall sound quality. In a nutsnell, exercise care when operating the High-Q. The unit must be used in tasteful modera tion, as incorrect EQ and volume settings for the High-Q can cause your overall output sound to be come overbearing and "topheavy." We recommend the High-Q to sound contrac tors and knowledgeable DJs, who have previous experi ence operating high fre quency projectors. Throughout our largespace testing, the unit con sistently delivered impres sive performance. Once again, Electro-Voice has de livered a daring, innovative advancement in the quality of practical sound reinforce ment. The High-Q is a defi nite "two thumbs up"!

14" Album

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JMC16OO Audio Precision Power Amplifier

BST JMC1600 BY HENRY COLLINS/B.J. MORRIS

use of an appropriately de signed, efficient, thorough bred, subwoofer amplifier such as the JMC 1600 from BST. This powerplant de livers up to 1,680 watts (4 ohms bridged @ IkHz) of quiet, sonically pure power, and comes equipped with many of the features that some competitors deem optional.

MADE TO THUMP! We were quite pleased to find that the JMC 1600 came right out of the box jam-packed with all the necessary features! The compact, 2U chassis is home to a monstrous tor oidal transformer, and quiet, accurate Sanken MOSFET transistors. The two ohm stable JMC deliv-, ered, even during long duty cycles, a gutsy 1,680 watts bridged at four ohms, and 800 watts per channel at two ohms. During our test ing of the amp on and off the bench, it consistently provided enough muscle to shake four of our Fane Co lossus 18" drivers (600W continuous each), and still had plenty of headroom to spare.

The following components were used in the product evaluation. Rack: Gem Sound AR32 Mixer: KAM GMX-ONE CD Rayen Pioneer CDJ-500II Processing: Aphex Aural Exciter 104 Equalizer. BST Process 10 Speakers: BSTW118CX

REVERED BY SUBWOOFERS AND LOVED BY BASS ENTHUSIASTS, THIS COMPACT POWERHOUSE IS SURE TO SHAKE THE ROOM, AT A PRICE THAT WON'T LEAVE YOU RATTLED.

If you have ever been in volved in live PA, you are aware of the plethora of myths and misconceptions relating to low frequency reproduction. We recently ran across one of the most popular of these misconcep tions at a club in Nashville, Tenn. The owner was frus trated that his recent subwoofer investment (two new Eminence 18" drivers) was not yielding the chestpounding bass expected. A closer inspection of the bass cabinets, as well as the amp rack, quickly revealed the problem. The bass cabinets were being driven by a sickly, multi-purpose amp that was intended to be used with monitors, or a small main PA...anything but bass cabinets! The club owner, refusing to believe this could be the problem, promptly recited the amp's eager specs and product claims. We nodded our heads in compli ance and said our good-byes. Hence, the myth: Despite an amplifier's seemingly ad equate wattage specifica tions and ambitious perfor mance claims, chest-pound ing, floor-shaking bass can not be achieved without the

Test Bench

TOTAL CONTROL! Possibly our favorite aspect of the JMC 1600 is its on board signal processing. The unit comes equipped with active crossover and subsonic filter plug-ins. The unit's defeatable active crossover features four crossover points (80Hz, lOOHz, 120Hz, 140Hz), and is easily configurable via rear panel dip-switches. The JMC's defeatable subsonic filter rolls off all signals be low 15Hz at 12dB per oc tave, preventing inaudible low frequencies from dam aging speaker drivers, and sapping the amplifier's power. Also included on the unit's well-designed rear panel, are balanced, parallel XLR inputs and 1/4-inch TRS outputs that allow you to link multiple JMCs to gether without the use of annoying splitters or distri bution terminals. This fea ture comes in quite handy when attempting to run multiple amplifiers off a single mixer output. The rear panel is also home to dual Speakon outputs, which can be configured for stereo or parallel mono op-

BST JMC1600 Suggested List: $1,199.00 BST 1220 Champion Circle Carroltton, TX 75006 Tel: 888-BST-0014 Fax: 888-FAX-BST9

eration, and a single Speakon output for bridged output. A selector switch adjacent to the output con nection makes output con figuration setup simple and guess-free. The use of se cure, rugged Speakon con nections, as opposed to fiveway connections, is also a great and often-overlooked feature.

SAFETY FIRST! Like any professional-qual ity amplifier, the JMC1600 features full, top-notch pro tection circuitry including thermal, short circuit, AC spike, continuous output current, and weak load pro tection. In addition, the JMC features unique "soft start" ON/OFF transient muting to prevent annoy ing, potentially damaging current spikes. To ensure that the unit keeps its cool, BST includes dual twospeed fans with oversized, front panel input vents. The poorly placed, side panel output vents are one of our only complaints. In typical, rack-mounted applications, MOBILE BEAT

SCOOP these side panel vents will pre vent the unit from achieving optimum air flow.

TO GET TO THE POINT... Throughout our testing of the JMC1600 in various indoor and outdoor applications, it delivered thunderous, clean power, and problem-free op eration. In fact, when used in the previously mentioned club, the amp performed with flying colors, bringing a smile to even the club owner's face. While it is true that the am plifier is only one part of suc cessful low-frequency repro duction, your choice of amps will make or break your end result. We do not hesitate to recommend this amp to any one demanding pumping, ef ficient power in a unit that comes stocked with all of the "options," including a full, three-year warranty. *

• CHAUVET • MOBOLAZER • V.E.I. • MARTIN • CLAY PAKY • SHOWPRO/DJ USA

YamahaQWO (continued from p. 73)

ONE HOT POTATO!

FARRALANE PRO LIGHTING, AUDIO & VIDEO SYSTEMS

VISIT OUR HI-TECH SHOWROOM All in all, this is one of the 300 RT. #109 • FARMINGDALE, NY 11735 most advanced, challenging pieces of gear to come across Intelligent Lighting • Special Effects • Lasers • Foggers our bench in a long time. It • Cases • Lamps • Audio Systems • Display Lighting • is ideal for a virtually end Theatrical Lighting • Fiber Optic Curtains • Video less array of production and Systems • Video Walls • Video Projectors performance applications, limited only by your creativ CALL FOR FREE CATALOG 800-433-7057 IN NEW YORK CALL (516) 752-9824 ity. We were also amazed by FAX (516) 752-8781 the tiny size of the unit, and www.farralane.com its price tag. This unit packs in features found on mas "Competitive Pricing" sive, rack-mountable units over four times its size and price. We are simply un aware of any other unit of NEW catalog Now Available! fering comparable features NEW Video Catalog Now Available! at the QY70's price point. This is a truly unique, inno DESIGN • SALES • INSTALLATION • SERVICE • RENTALS • vative, and cutting-edge EXPORT* REPAIRS-LEASING product from a company known for nothing less. You definitely owe it to yourself HD31 ONDOS 1S3H3 • SVd • NOI1S313D • 3NVH to check this one out! . <» THE BEST OF TUE BEST! The Vertigo Pro emits 30 DEMON DN-2500 Everything a DJ could ask for! • Seamless looping • 8 sec sampler w/speed contri • Direct track access siaoo.00 • ±16% pitch control • Brake effect

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VISA The DJ Magazine

IT'S HOT Instant Excitement! Is your crowd response beginning to resemble that of a symphony performance? Add laser excitement to your next light show with the compact, affordable Laserburst from Visual Effects Inc. (VEI). This light weight, low-voltage laser is ideal for use in club installation, Mobile DJ, and house party applications. The bright 4.9mW red diode laser beam produces an exciting, animated lighting effect which is greatly heightened when used with fog or haze. The Laserburst features a versatile manual operating mode with dual, fully-adjustable speed controls that allow the creation of up to 100 thrilling laser effects. In automatic or sound-activated mode, the unit delivers 16 pre-set geometric patterns at a user-definable speed. For the utmost in crowd-pumping laser operation, multiple Laserbursts can be used together to create dazzling, overhead effects. The Laserburst operates on four AA batteries or with the supplied AC adapter, and comes uipped with truss-mounting rigging hardware. List: $129 Visual Effects, Inc. 3639 Dyre Avenue • Bronx, NY 10466 Tel: 718-324-0011 • Fax: 718-994-8825

Step Up The Pace American DJ steps up the pace of visual excitement by adding stepper motors to its new Symphony II cen terpiece lighting effect. Designed for clubs and other large venues, the Symphony II utilizes very quick, pre cise stepper motors to create a high-RPM light show that will transfix the crowd with its rapid movement, dazzling colors, and intensity. The Symphony II pro duces brilliant beams of colored light via eight flat mirrors, four flat spinning mirrors, and four multi-mir ror spinning dishes. The effect delivers four dicroic colors: red, yellow, green, and blue, and an extremely bright HMI 575 discharge lamp. Set in motion by the stepper motors, the unit's spinning and rotating mir rors create sharp color rods that move and change at breakneck speed creating an effect that's nothing short of spectacular. Suggested List: $3,150 American DJ Supply 4295 Charter Street • Los Angeles, CA 90058 Tel: 800-322-6337 • Fax: 213-582-2610 Web site: www.american-dj-supply.com

MOBILE BEAT

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i For portability, the TWISTER measure?, I :j" A 17" : and weighs less than 59 Ibs., wit,. J»»HMn shock resistant CD/fiDC|3)ayerV 19 steps digital ' " cassette deck that playl_______ yciuul mix nd vocal, together with six speakers in one rugg, \r __ It is the perfect iflBeftyfor rental or home use, • 'AEflBBBlK

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Keeping the Beat Unleashed at this year's PLASA show, KAM's Beat-Pro offers quite pos sibly the most stable, accurate, and comprehensive BPM meter on the market. The main feature behind the Beat-Pro's astounding ac curacy is its use of frequency selective calculation. The high-tech circuitry on board the unit cal culates the time relation between the signals found in the HOHz band (the typical kick drum source) only, and disregards any other BPMconfusing musical clutter. The unit also contains intelligent processing that automatically elimi nates double or missed beats that are commonly found in hip-hop and electronic music. Additional fine adjustments can also be made to the BPM meter via the input trim control found on each of the unit's three channels. Any two channels at a time can be assigned to the unique offset window, which automati cally calculates and displays the percent difference in BPM speed between the two tracks. In addition, the unit features user selectable real-time or average BPM calculation modes. Each channel also conies equipped with an independent BPM display and "beat" LED indicator, rounding out the comprehensive package. The Beat-Pro features the same input/output, channel, and EQ configu ration and layout as the already established KAM GMX-ONE. Suggested List: $899 KAM USA 1140 Northeast 34th Court • Fort Lauderdale, FL 33334 Tel: 954-566-2997 • Fax: 954-566-9722

On A Roll! The compact, lightweight RR-4 Micro cart from Music Industries Corp. makes transporting record or CD crates, and other small-to-medium sized gear, quick and pain less. The extremely versatile Micro can be transformed into eight different configurations ranging from 26.5 to 39 inches in length, and features 20 and 25 inch foldable sides for stacking high loads. The unit can even be used as a gear stand on stage or in the studio. The RR-4 rolls on six-inch rear wheels and four inch front casters, and carries loads up to 350 pounds. The unit is also ideal for airline travel, tipping the scales at a feather weight 18 pounds! In addition, the pro-quality Micro features rugged steel construction, a super durable fin ish, stairclimbers, caster brakes, and an anti-slip frame bed surface. Give your back a break! Suggested List: $119.95 Music Industries Corp. 99 Tulip Avenue, Suite 101 • Floral Park, NY 11001

Tel: 516-352-4110 • Fax: 516-352-0754 Web site: www.musicindustries.com

IVow Hear This! Utilizing innovative, DJ-designed construction, and studio-quality, ear-pounding sound reproduction, the SE-DJ5000 professional DJ headphones from Pioneer New Media Technologies are going to change the way you listen to music! The SE-DJ5000s feature a unique foldable, rotating housing design that allows you to config ure the earcups in a plethora of practical yet comfortable positions. In addition, a plush, detachable shoulder pad makes "shouldersqueeze" monitoring easier and more secure than ever! Other pro-quality features include oversized 50mm drivers, gutsy SOOOmW power handling, hermetically-sealed, sound-insulating body, and a gold-plated 1/8 and 1/4 inch connector. The SE-DJ5000 also comes equipped with a belt clip to ensure tangle-free mobility while wear ing the headphones. Suggested List: $150 Pioneer New Media Technologies Inc. 2265 E. 220th Street • Long Beach, CA 90810 Tel: 310-952-2111 • Fax: 310-952-299 Web site: www.pioneerusa.com/pro-dj

MOBILE BEAT

CD 240 CD Storage System 240 ProSleeves Separate pocket for liner notes

Top Tab Pocket for Spine Labels 8 CD dividers & Zipper Case

MD25O

CD 480

World's Lightest DJ Console Workstation 9

Start Your EEEngines! Featuring advanced Energy Efficient Engine (EEEngine) technology, the new P Series amplifiers from Yamaha deliver high power output, low temperature operation, and low power draw in a compact 21) rack-mountable package. The P Series is available in three power ratings (P1600, P3200, and P4500) ranging from 400W to 1360W into eight ohms bridged. All feature front panel mounted power and 31-segment, dB-calibrated level controls, as well as signal, peak, AC protection, and overheat LED indicators. The uncommonly broad frequency response of the P Series units [OdB+.ldB, 10Hz-50kHz @ 8 ohms, 1W) delivers pure, accurate amplification with no sound coloration. Balanced 1/4 inch, XLR, and barrier strip input connections, and banana output connections provide a wealth of configuration options. The comprehensive protection circuitry found in all P Series amplifiers includes ON/OFF transient muting, heat oversink pro tection, noise filtering, and PC limiting for short circuit protection. Ultra-quiet forced air fan cooling ensures that the P Series keep their cool through the longest duty cycles. Suggested List: P1600 $599, P3200 $849, P4500 $999 Yamaha Corporation of America P.O. Box 6600 • Buena Park, CA 90622 Tel: 714-522-9011 • Fax: 714-522-9235, Web: www.yamaha.co.jp/productyproaudio

7 Space Vertical Top 12.25' 9 Space Pull-out drawer 15.75" 2 Space Lower amp area 3. 5* 4.5" mixer depth clearance

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Mini-Combo 4+ 4 Ch. Capsyllte Halogen Lights Controtter/Footswttch 70w mirrorball system 3 models available: Mirrorball, Rotosphcre, or X-ray

Three head, two wells, one great cassette deck Superscope Technology introduces the Marantz PMD520 Professional three-head independent dual well cassette deck. Key features of this rackmount deck include fine speed adjust, auto bias system, tape/source monitoring, and fully independent operation and inputs/outputs. Addi tional features include high-speed record (2X), loop through outputs, 25-pin contact closure control port, tape stop alarm and auto rewind. The PMD520's cascade play/record capability allows multiple units to be linked together for long back or record applications. Overlap series record provides seamless recording for con tinuous recording from one tape to the next. A timer record/play feature allows the unit to be programmed to record or play after power up. Other features include, record mute, record balance control, Dolby B/C noise reduction, Hx Pro headroom extension, digital time counter, Marantz RC5 remote control port, and an optional balanced I/O kit. Superscope Technologies, Inc. • Marantz Professional Products 1000 Corporate Boulevard • Aurora, IL 60504 Tel: 630-820-4800 • Fax: 630-820-8103

The DJ Magazine

ACL24 Aircraft Lighting System 24 - 2BV aircraft laser type beam lights 1.2 million candle power • x/y aiming Red - Blue - Amber - Magenta 2 AC switched effects outlets on back 8 conductor black cabling Effects mounts top/bottom Clamps together as travel case, 21 Ibs ea.

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This Little Lite Of Mine! Designed with input from customers worldwide, the new RLX Raklfte from Littlelfte is ideal for DJs, sound and lighting engineers, and anyone else requiring a crisp, directable white-light source from a 1U unit. The Raklfte's sleek, black face-plate conies equipped with dual XLR connectors to accommodate dual XLR Series detachable gooseneck lamps (sold sepa rately). A front-panel dimmer control makes on-the-fly brightness adjustment of the 5-watt halo gen bulb(s) no problem. Suggested List: $89 CAE, Inc. 10087 Industrial Drive P.O. Box 430 • Hamburg, Ml 48139-0430

Tel: 810-231-9373 • Fax: 810-231-1631

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Simple to use, no need to be an expert! Light weight (Ideal for mobile DJs), fits right in your briefcase Can also be used with a regular desktop PC. Keep track of all your evening programs even after a year. Let DJPower find and play your songs in a flash.

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f—%

MUSIC NEWS

Dancinff til*-

You're The One That I Want, Greased Lightning, & Summer Nights....................... GREASE MEGAMIX ........ w/JOHN TRAVOLTA & OLIVIA NEWTON JOHN I Will Survive ............................. GLORIA GAYNOR

NIGHT

The hunger for breaking and current top 40 hits is what the folks compil足 ing the HITS ZONE series are after. Combining a variety of styles with mostly upbeat tracks has made this series a top seller. The newest "HITS ZONE BEST OF '97" dishes out 40 top artists and hits with many still gaining in popularity.

away

In this issue, we have an interesting collage of compi足 lations for you to add to your collection. There are some new sets and some not so new, but worthwhile, collec足 tions. AH the following are packed with must-have titles ifyou're to go out there prepared!

BY FRED SEBASTIAN

This new release aims to take its place among the best party compila足 tions; no easy task. The "NO.l DANCE PARTY ALBUM" packs 43 classic party anthems on this twoCD set that will definitely keep your party going. Tracks are: Encore line Fois ....................................... SASH! Free................................................. ULTRA MATE Do Ya Think I'm Sexy?......................... N-TRANCE ............................................... w/ ROD STEWART U Sexy Thing ............................................CLOCK Freed From Desire ...................................... GALA Best Love........................................ THE COURSE Don't Give Me Your Life.................... ALEX PARTY Boom, Boom, Boom ............. OUTHERE BROTHERS Pump Up The Volume.......................... M/A/R/R/S Sweets For My Sweet............................ CJ LEWIS Two Can Play That Game .............. BOBBY BROWN Things Can Only Get Better...................... D:REAM Theme From S-Express....................... S-EXPRESS I Luv U Baby.................................. THE ORIGINAL Relight My Fire ...................................TAKE THAT Saturday Night.................................. WHIGFIELD Just A Little Bit........................................ GINA G Guaglione............................. PEREZ PREZ PRADO The Macarena ................................. LOS DEL RIO Yodel In The Canyon Of Love.. DO RE Ml w/ KERRY 5, 6, 7, 8 ................................................. STEPS Flashdance...What A Feeling.............. IRENE CARA Ladies Night........................... KOOL & THE GANG We Are Family .............................SISTER SLEDGE A Night To Remember ........................ SHALAMAR Bad Girls................................... DONNA SUMMER It's Raining Men ........................ WEATHER GIRLS The Only Way Is Up ..................................... YAZZ Dancing Queen .......................................... ABBA Tainted Love ....................................... SOFT CELL Relax .................. FRANKIE GOES TO HOLLYWOOD Dizzy.............. V1C REEVES & THE WONDER STUFF Come On Eileen ........ DEXY'S MIDNIGHT RUNNERS Tiger Feet ...................................................MUD Rock And Roll (Part 2) .................. GARY GLITTER The Time Warp ....................................... DAMIAN Hillbilly Rock, Hillbilly Roll ..... THE WOOLPACKERS Y.M.C.A. ............................. THE VILLAGE PEOPLE I'm Too Sexy............................. RIGHT SAID FRED La Bamba ......................................... LOS LOBOS Don't Leave Me This Way .............. COMMUNARDS

Track listings are: Who Do You Think You Are ............... SPICE GIRLS I Know Where It's At......................... ALL SAINTS Where'sThe Love?................................. HANSON Lonely........................................... PETER ANDRE Picture Of You ..................................... BOYZONE Best Love ........................................THE COURSE Free................................................. ULTRA NATE Something's Coin' On ....................... TODD TERRY U Sexy Thing ............................................CLOCK Ecuador................................................... SASH! Freed From Desire ...................................... GALA Saturday ..... EAST 57TH STREET w/ DONNA ALLEN The Mighty High ........................... REVIVAL 3000 Old Before I Die ...................... ROBBIE WILLIAMS What Do You Want From Me? ................ MONACO Clementine...................................... MARK OWEN Love Won't Wait ...........................GARY BARLOW Finally (Classic Funk Radio Mix) . CE CE PENISTON Waterloo Sunset........................... CATHY DENNIS Indestructible.............................. ALISHA'S ATTIC Black Eyed Boy......................................... TEXAS Midnight In Chelsea ........................ JON BON JOVI Raincloud (D'lnfluence Mix) . LIGHTHOUSE FAMILY Da Ya Think I'm Sexy?......................... N-TRANCE ............................................... w/ ROD STEWART As Long As You Love Me......... BACKSTREET BOYS Sometimes .................. THE BRAND NEW HEAVIES Ooh La La .............................................. COOLIO I Shot The Sheriff................................ WARREN G

MOBILE BEAT

I Believe I Can Fly ................................... R KELLY Walk On By ....................................... GABRIELLE Hey Child .............................................. EAST 17 Make H With You ............................... UNIVERSAL Alone.................................................. BEE GEES If I Never See You Again ................ WET WET WET Lovefool .....................................THE CARDIGANS North Country Boy ................... THE CHARLATANS She's A Star ............................................. JAMES Free Me..................................................... CAST Traveller's Tune ................ OCEAN COLOUR SCENE Nothing Lasts Forever.... ECHO & THE BUNNYMEN

From one of the leading labels in dance comes "STRICTLY RHYTHM SUPERJAMS Vol.1." It's an excellent compilation of some of the best dance tracks of'97. Featuring mostly full-length and club versions (not pre-mixed), tracks are as follows: Lovefool .....................................THE CARDIGANS Free (Mood II Swing Mix) ................. ULTRA MATE Return Of The Mack (Incredible B-Boy Orchestra Mix) MARK MORRISON Nightmare (Sinister Strings Mix).......... BRAINBUG Do You Miss Me..................... JOCELYN ENRIQUEZ Set U Free..................................... PLANET SOUL Mueve La Cadera............................. REEL 2 REAL ............................................. w/ PROYECTO UNO Hold Your Head Up High (Mousse Fs High Up Mix) .............................. BORIS DLUGOSCH w/BOOM! Dub-l-Dub ............................................ ME & MY Make The World Go Round (Deep Dish Mix)................................... SANDY B. Turn Me Out (Sol Brothers Turn To Sugar Mix)...... .................................. PRAXIS w/ KATHY BROWN In A Dream........................................... ROCKELL This Is Your Night.................................... AMBER Closer Than Close (Mentor Original Mix) .............. .................................................... ROSIE GAINES Funk Phenomena............... ARMAND VAN HELDEN .................................... w/ OLD SCHOOL JUNKIES Love From Above (Berman Brothers Mix) ........................ MINDY K.

For high energy Latin music, the choice is Merengue. A bit more mainstream than the Latin house music popular in clubs, the new release of "MERENGUE MIX 3" is the long-awaited newest from a series of best-selling Latin compilations. Sold on Latin TV, it features many of today's hottest Latin acts and tracks. Nonstop and trackable, it also includes two megamixes of the fulllength tracks on this CD. Tracks are: Megamix (Long Version) El Pollrto ................................. FREDDY GERARDO La Tanga......................................... ORO SOLIDO

The DJ Magazine

El Ombligurto................. POCHY Y SU COCO BAND Quieren Mi Cana.............................. CANA BRAVA El Pure............................................ ROKABANDA Megamix (Radio Version) Y Se Que Vas A Llorar ................ MANNY MANUEL Marinerito, Marineron......................................... ............................... PAPUCHO Y SU GRUPO WAO El Rey Del Mambo.................... LA BANDA GORDA No Puedo Olvidarla ............................. RIKARENA Quiereme ........... LOS SABROSOS DEL MERENGUE

The series of compilations called "Shine" has for years featured rock music and artists that have gone on to be well recognized names and hits. "THE BEST OF SHINE '97" will take a lot of guess work out of playing recent, current and breaking rock. Proposed tracks on this new two-CD set are: Live The Dream .......................................... CAST What Do You Want From Me.................. MONACO We Could Be Kings .....................................GENE Nothing Lasts Forever.... ECHO & THE BUNNYMEN She's A Star ............................................. JAMES The Distance ..............................................CAKE Found You............................................... DODGY Friday Street................................. PAUL WELLER Alma Matters ................................... MORRISSEY Help The Aged ............................................ PULP Your Woman................................... WHITE TOWN Beetlebum ................................................. BLUR Richard III ......................................SUPERGRASS Tubthumping............................. CHUMBAWAMBA Paranoid Android.............................. RADIOHEAD She Makes My Nose Bleed..................... MANSUN Monkey Wrench............................ FOO FIGHTERS Summertime ........................................ SUNDAYS Bittersweet Symphony............................... VERVE Nancy Boy............................................ PLACEBO Do You Know What I Mean ......................... OASIS Stand By Me..............................................OASIS Star/Burning Wheal................ PRIMAL SCREAM Ain't That Enough .................. TEENAGE FANCLUB Hush............................................. KULA SHAKER Come Back Brighter.................................... REEF You Showed Me ....................... LIGHTNING SEEDS Travellers Tune ................. OCEAN COLOUR SCENE Swallowed................................................. BUSH Novocaine For The Soul............................... EELS Get Higher..................................... BLACK GRAPE Love Is The Law................................ SEAHORSES A New Pollution ......................................... BECK Drop Dead Gorgeous.......................... REPUBLICA She's A Good Girl.................................. SLEEPER TellirT Stories ................................. CHARLATANS Saturday Night......................................... SUEDE The End Is The Beginning... Of The End ....................... SMASHING PUMPKINS Brazen (Weep)........................... SKUNK ANANSIE Celebrate.......................................... LEVELLERS A Life Less Ordinary..................................... ASH

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WESTERN STARLIGHT 85

MUSIC NEWS

Heavy hits and classic rock anthems are the venue on the recent release of "MONSTERS OF ROCK." You get two CDs-38 songs. Here's the tracks: Cum On Feel The Noise ...................... QUIET RIOT Once Bitten, Twice Shy................... GREAT WHITE Surrender ......................................CHEAPTRICK Round And Round....................................... RATT Every Rose Has Its Thorn......................... POISON Poison ......................................... ALICE COOPER Cherry Pie........................................... WARRANT Turn Up The Radio ........................... AUTOGRAPH When The Children Cry...............;...... WHITE LION

Fantasy............................................. ALDO NOVA Fly High Michelle .......................... ENUFFZ'NUFF Bang Bang ............................... DANGER DANGER The Warrior.......................................... SCANDEL Girlschool ........................................ BRITNY FOX (Can't Live Without Your) Love And Affection.................................. NELSON Heat Of The Moment.................................... ASIA Owner Of A Lonely Heart ............................... YES (I Just) Died In Your Arms............. CUTTING CREW We're Not Gonna Take tt............. TWISTED SISTER Here I Go Again .............................. WHITESNAKE The Final Countdown .............................. EUROPE Nobody's Fool.................................. CINDERELLA Sister Christian ........................... NIGHT RANGER Curt Of Personality...................... LIVING COLOUR Stone Cold .......................................... RAINBOW You've Got Another Thing Comin'.... JUDAS PRIEST Seventeen............................................. WINGER Edge Of A Broken Heart .............................VIXEN Fly To The Angels.............................. SLAUGHTER Your Love..................................... THE OUTFIELD Love Of A Lifetime ............................. FIREHOUSE Hold On Loosely................................ 38SPECIAL Bails To The Wall.................................... ACCEPT Give tt To Me Good................................. TRIXTER Midnrte Maniac ..................................... KROKUS Fade To Blue .................................... 38 SPECIAL

gamut from amusing to hysterically funny. "BEST OF TWISTED TUNES VOLS. 1 & 2" are both excellent collections of farce a la classic rock tunes. These tracks sound like the original artists' hit songs, until you hear the words. See if you can guess the original song and artist from the following track listings. Each volume is sold separately. A definite compliment to any collection.

Bob Rivers, much like Weird Al Yankovic, does cover versions of top hits with new lyrics that run the

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MUSIC NEWS Because of the huge response from last month's column here's more of the "best sellers" of 1997.

Best Of Twisted Tunes Vol.1: You Don't Smell Like Flowers Take A Wack On The U.S. Side

Three Inch Tool Downtown In The '90s What An Ugly Man He Was Minimum Wage Free As A Turd The Old Man Is On The Commode Spinning Reel PLO's & Israeli's Middle Age Waistline Strawberry Rehabs Forever Baby Madonna A** Hole Sun Magic Comet Ride Best Of Twisted Tunes Vol.2: Hello I Love You (Let's Get Tested) I'm Just A Singer In A Holiday Inn What If God Smoked Cannabis Beat Up Old Jetliner Read It In The Tabloids Mr. Magoo When A Man Loves A Chicken I Used To Rock 'N Roll All Night Getting Fatter All The Time I'm A Weight Watcher Officer Furman OJ's Trial Thing How K Feels (To Be Old) Bowel Moves Wrong Foot Amputated

BESTOFVYBIN' (Two CDs) Return Of The Mack (C&J Radio Edit) .......................MARK MORRISON I Got 5 On tt (Clean Short Mix) ................... LUNIZ Nobody Knows................................... TONY RICH Waterfalls (Single Edit) ................................. TLC The Crossroads (Remix). BONE THUGS-N- HARMONY Shy Guy (Radio Edit)......................... DIANA KING Bump 'N' Grind...................................... R. KELLY I Will Survive (Silk's Old Skool Extended Remix w/ Clean Rap).............................. CHANTAY SAVAGE One For The Money.................... HORACE BROWN You're The One............................................ SWV How Many Ways (R. Kelly Radio Edit)..................... TONI BRAXTON If I Ruled The World (Imagine That) (Main Mix)................................................... NAS Mutual Feeling ....................... BEVERLEY KNIGHT Whoo Hah!!! Got You All In Check (Album Radio Edit)...................... BUSTA RHYMES I Wanna Be Down (LP Edit)..................... BRANDY Feels So Good (LP Version)...................... XSCAPE Like This And Like That.......................... MONICA

G-Spot................................... WAYNE MARSHALL Kissin' You (Radio Edit)............................. TOTAL Gangsta's Paradise ......................... COOLIO w/ LV Virtual Insanity................................ JAMIROQUAI Good Thing........................................... ETERNAL Boombastic (7" Original Edit)................. SHAGGY Ocean Drive......................... LIGHTHOUSE FAMILY Love Enuff (Maserati Up Tempo Mix Edit).......... SOUL II SOUL 24/7. .3T Sweetness (Radio Mix).............. MICHELLE GAYLE If You Love Me [Radio Edit) ........... BROWNSTONE Every Day Of The Week (Radio Edit) ............. JADE Like A Playa ........................................ LA GANZ Back And Forth ..................................... AALIYAH Down 4 Whateva............................ NUTTIN' NYCE Undercover Lover .................................. SMOOTH Freak Like Me (Radio Version)..... ADINA HOWARD Only You (Clean Radio Mix) ........................... 112 .......................................... w/ NOTORIOUS B.I.G. (Can't Always Have) Sunshine...................... C223 Get K On .......... CLASH OF CULTURE w/ PHOEBE 1 Sentimental (Original Radio Edit)... DEBORAH COX Je FAime ............................................ S.S. SOUL Bomm Biddy Bye Bye (Fugees Remix) ............................ CYPRESS HILL

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Boogie Nights.................................... HEATWAVE I'm Every Woman............................ CHAKA KHAN Lady Marmalade.................................... LABELLE Blame It On The Boogie....................... JACKSONS That's The Way (I Like R)..................................... ................................. KC & THE SUNSHINE BAND Ain't Nobody..................... RUFUS & CHAKA KHAN A Night To Remember ........................ SHALAMAR You To Me Are Everything........... THE REAL THING Is It Love You're After ...................... ROSE ROYCE And The Beat Goes On.................. THE WHISPERS Forget Me Nots......................... PATRICE RUSHEN Heaven Must Be Missing An Angel.......... TAVARES We Are Family .............................SISTER SLEDGE Use It Up And Wear It Out ..................... ODYSSEY Let's Groove ......................... EARTH WIND & FIRE I Feel Love ................................ DONNA SUMMER You Make Me Feel (Mighty Real)......... SYLVESTER Disco Inferno ................................THE TRAMMPS Play That Funky Music ................... WILD CHERRY Hang On In There Baby ............. JOHNNY BRISTOL Going Back To My Roots........................ ODYSSEY If I Can't Have You ................... YVONNE ELLIMAN Good Times................................................ CHIC Best Of My Love ................................. EMOTIONS The Hustle........................................ VAN McCOY ............................. & THE SOUL CITY SYMPHONY Lost In Music ..............................SISTER SLEDGE Theme From Shaft.......................... ISAAC HAYES Young Hearts Run Free.................. CANDISTATON Le Freak .................................................... CHIC I.O.U...................................................... FREEEZ Jump To The Beat..................... STACY LATTISAW Celebration ........................ KOOL AND THE GANG Yes Sir, I Can Boogie............................ BACCARA Working My Way Back To You . DETROIT SPINNERS Boogie Oogie Oogie................... TASTE OF HONEY Ring My Bell.................................... ANITA WARD Rasputin ............................................. BONEY M Boogie Wonderland........... EARTH WIND AND FIRE

DRIVE ON (Two CDs) Riverboat Song................. OCEAN COLOUR SCENE Are You Gonna Go My Way .......... LENNY KRAVITZ Losing My Religion...................................... REM Everything Must Go.... MANIC STREET PREACHERS Sandstorm ................................................. CAST Passenger........................................... IGGYPOP Road To Nowhere........................ TALKING HEADS Alright........................................... SUGARGRASS Mmm Mmm Mmm Mmm ... CRASH TEST DUMMIES A Girl Like You........................... EDWYN COLLINS How Soon Is Now............................. THE SMITHS Made Of Stone .............................. STONE ROSES Star......................................... PRIMAL SCREAM Inside .................................................. STILSKIN 20th Centuiy Boy....................................... T-REX Don't You Forget About Me........... SIMPLE MINDS Thorn In My Side ............................ EURYTHMICS Don't Get Me Wrong ................ THE PRETENDERS Walk On The Wild Side ......................... LOU REED Sweet Child O'Mine...................... GUNS N'ROSES Legs ....................................................... ZZ TOP 2 Princes .............................. THE SPIN DOCTORS Bad Love......................................ERIC CLAPTON Long Train Runnin' .......... THE DOOBIE BROTHERS Schools Out.................................. ALICE COOPER Everything About You ...................... UGLY KID JOE

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MUSIC NEWS Word Up ..................................................... GUN We Care A Lot............................ FAFTH NO MORE She Sells Sanctuary ............................. THE CULT Paradise ................................... DAVID LEE ROTH Don't Fear The Reaper ........... BLUE OYSTER CULT Modem Girl........................................ MEATLOAF Hazard....................................... RICHARD MARX These Dreams .......................................... HEART Is This Love.................................... WHITESNAKE Free Bird................................. LYNYRD SKYNYRD

FUNKMASTER MIX (Two CDs - nonstop and trackable) Word Up ................................................. CAMEO Oops Upside Your Head ....................... GAP BAND Movin' ............................ BRASS CONSTRUCTION Funky Nassau ...........THE BEGINNING OF THE END Brick House .................................COMMODORES (Are You Ready) Do The Bus Stop................... THE FATBACK BAND Papa's Got A Brand New Pig Bag ............. PIGBAG Get Up Offa That Thing.................. JAMES BROWN Funkin' For Jamaica .......................TOM BROWNE Stomp................................... BROTHER JOHNSON Tell Me Something Good............................ RUFUS War.............................................. EDWIN STARR Theme From "Shaft" ...................... ISAAC HAYES Cuba..................................... GIBSON BROTHERS Shoosh Shoorah .......................... BETTY WRIGHT Funky Weekend .......................... THE STYLISTICS That Lady................................. ISLEY BROTHERS Sound Your Funk Horn KC & THE SUNSHINE BAND

Play That Funky Music ................... WILD CHERRY Hang On In There Baby ............. JOHNNY BRISTOL Le Freak .................................................... CHIC Lady Marmalade.................................... LABELLE Get Down On It................... KOOL AND THE GANG Let's Groove ......................... EARTH WIND & FIRE Shake Your Body ................................ JACKSONS Rock The Boat..................... HUES CORPORATION Move On Up ............................ CURTIS MAYFIELD Strut Your Funky Stuff........................ FRANTIQUE Car Wash ........................................ ROSE ROYCE Shame ................... EVELYN "CHAMPAGNE" KING Ain't No Stoppin' Us Now .................................. McFADDEN & WHITEHEAD Family Affair................. SLY & THE FAMILY STONE If You Ready Come Go With Me ...STAPLE SINGERS The Groove.................................... TEENA MARIE Forget Me Nots......................... PATRICE RUSHEN Use K Up Wear It Out............................ ODYSSEY Boogie Nights.................................... HEATWAVE Pick Up The Pieces ........... AVERAGE WHITE BAND Rock tt.................................... HERBIE HANCOCK Green Onions.................... BOOKER T & THE MG'S

GREATEST PARTY ALBUM UNDER THE SUN (Two CDs) C'mon Everybody ....................... EDDIE COCHRAN La Bamba ................................. RITCHIE VALENS (We're Gonna) Rock Around The Clock ................. ................................. BILL HALEY & HIS COMETS Let's Twist Again..................... CHUBBY CHECKER

Hippy Hippy Shake .....THE SWINGING BLUE JEANS Shout............................... LULU & THE LUWERS Reet Petite.................................. JACKIE WILSON The Locomotion................................. LITTLE EVA Do Wah Diddy Diddy.................. MANFRED MANN Mony Mony ..... TOMMY JAMES & THE SHONDELLS Let's Dance ................................. CHRIS MONTEZ Hi Ho Silver Lining .............................. JEFF BECK Tiger Feet ...................................................MUD See My Baby Jive .................................. WIZZARD Leader Of The Gang ...................... GARY GLITTER Rockin' All Over The World ............... STATUS QUO 2-4-6-8 Motorway.............. TOM ROBINSON BAND That's The Way (I Like It) ..................................... ................................. KC & THE SUNSHINE BAND Celebration ............................ KOOL & THE GANG I Will Survive ............................. GLORIA GAYNOR Y.M.C.A ('93 Remix)................... VILLAGE PEOPLE Never Can Say Goodbye................. COMMUNARDS Move Closer ............................. PHYLLIS NELSON True........................................ SPANDAU BALLET Shoop Shoop Song (It's In His Kiss)............. CHER Grease MegaMix......................... JOHN TRAVOLTA ..................................... & OLIVIA NEWTON JOHN Mustang Sally ...................... THE COMMITMENTS I'm A Believer........... REEVES & MORTIMER / EMF Young At Heart ................................. BLUEBELLS Come On Eileen ........ DEXYS MIDNIGHT RUNNERS One Step Beyond ................................. MADNESS The Can Can................................. BAD MANNERS Oh Carolina........................................... SHAGGY Here Comes The Hotstepper ............. INI KAMOZE Twist And Shout............. CHAKA DEMUS & PLIERS

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TOP CLUB VIDEO CUPS 1 SPICE UP YOUR LIFE ..................................... SPICE GIRLS/VIRGIN 2 BUSY CHILD ............................ CRYSTAL METHOD/GEFFEN 3 ELECTRIC BARBARELLA (MIX) ................................ DURAN DURAN/CAPITOL 4 BRIMFUL OF ASHA ................................. CORNERSHOP/WARNER 5 LOVE SENSATION .................................................. 911/VIRGIN 6 HITCHIN1 A RIDE ..................................... GREEN DAY/REPRISE 7 LEGEND OF A COWGIRL .......................... IMANICOPPOLA/COLUMBIA 8 R U READY (REMIX) .................................. SALT-N-PEPA/RED ANT 9 THREE MARLENAS .................. THE WALLFLOWERS/INTERSCOPE 10 LOVE IS ALIVE ........................................... 3RD PARTY/DV8 11 L-L-LIES ....................................... DIANA KING/WORK 12 THA WILDSTYLE .................................. DJ SUPREME/INTERMIT 13 WHAT WOULD HAPPEN ......................... MEREDITH BROOKS/CAPITOL 14 BE MY BABY ..................................... CAPPELLA/INTERHIT 15 TUBTHUMPING ......................... CHUMBAWAMBA - REPUBLIC 16 BARBIE GIRL ................................................... AQUA/MCA 17 SOCK IT TO ME .............................. MISSY ELLIOT/EASTWEST 18 THE JOCK JAM (MEGAMIX) ..................... VARIOUS ARTISTS/TOMMY BOY 19 LET ME BE FREE ............................. SAMANTHA FOX/POPULAR 20 DEATH IN VEGAS .......................................... DIRT/TIME BOMB 21 HUSH ............................. KULA SHAKER/COLUMBIA 22 SHOW ME LOVE .................................................. ROBYN/RCA 23 DONTGO ................................... LE CLICK f. KAYO/RCA 24 FLY ...................... SUGAR RAYf. SUFERCAT/LAVA 25 YOU'RE NOT ALONE (REMIX) ....................................................OUVE/RCA COMPILED FROM A NATIONAL SAMPLE OF TOP 10 MUSIC VIDEO CHARTS AS REPORTED BY CLUB PROGRAMMERS AND MUSIC SERVICES NATIONWIDE.

MUSIC NEWS I'm Too Sexy............................. RIGHT SAID FRED Ride On Time.................................... BLACK BOX The Only Way Is Up ..................................... YAZZ Saturday Night.................................. WHIGFIELD Things Can Only Get Better...................... D:REAM Relight My Fire ...................................TAKE THAT The Best........................................ TINA TURNER Unchained Melody ................. ROBSON & JEROME You'll Never Walk Alone............................. GERRY .......................................... & THE PACEMAKERS

THOSE WONDERFUL YEARS (Two CDs) Theme From "A Summer Place" .......................... ......................... PERCY FAITH & HIS ORCHESTRA Memories Are Made Of This............ DEAN MARTIN Allegheny Moon ................................ PATH PAGE The Yellow Rose Of Texas .............. MITCH MILLER Honey Comb............................. JIMMY RODGERS Fascination ... JANE MORGAN & THE TROUBADORS Smoke Gets In Your Eyes.............. THE PLATTERS Marianne .. TERRY GILKYSON & THE EASY RIDERS Don't You Know .............................. DELIA REESE Rags To Riches ............................ TONY BENNETT The Poor People Of Paris ................. LES BAXTER Anytime ........................................ EDDIE FISHER Secret Love ........................................DORIS DAY Unchained Melody ............................ AL KIBBLER Blueberry Hill ................................ FATS DOMINO Standing On The Corner .............. THE FOUR LADS Hey There .......................... ROSEMARY CLOONEY Just Walking In The Rain ................. JOHNNIE RAY Kiss Of Fire ................................ GEORGIE GIBBS Love Letters In The Sand.................... PAT BOONE Let Me Go Lover ............................. JOAN WEBER Band Of Gold .................................. DON CHERRY My Heart Cries For You ................ GUY MITCHELL Earth Angel...................................... CREW CUTS I Believe...................................... FRANKIE LAINE Till I Waltz Again With You......... TERESA BREWER Too Young ................................... NAT KING COLE Three Coins In The Fountain ............... FOUR ACES Shrimp Boats ................................. JO STAFFORD Eternally .......................................... JERRY VALE The Third Man Theme ................ GUY LOMBARDO ................................... & HIS ROYAL CANADIANS It's No Sin ................................... EDDY HOWARD Wheel Of Fortune............................... KAY STARR Vaya Con Dios ............... LES PAUL & MARY FORD Smile........................................ JOHNNY MATHIS tt Takes Two To Tango ................... PEARL BAILEY Wanted.......................................... PERRY COMO Singing The Blues........................ GUY MITCHELL A White Sport Coat (And A Pink Carnation) .......... ................................................ MARTY ROBBINS Cold, Cold Heart .......................... TONY BENNETT The Song from Moulin Rouge (Where Is Your Heart) ......................... PERCY FAITH & HIS ORCHESTRA Cry ................................................ JOHNNIE RAY Half As Much...................... ROSEMARY CLOONEY Harbor Lights .... SAMMY KAYE & HIS ORCHESTRA Mule Train................................... FRANKIE LAINE A Guy Is A Guy.................................... DORIS DAY No, Not Much ............................. THE FOUR LADS Are You Sincere? ....................... ANDY WILLIAMS Goodnight Sweetheart, Goodnight........................ ....................................... THE McGUIRE SISTERS

ULTIMATE LINE DANCING ALBUM (Includes dances and instructions) Boot Scootin' Boogie ................ BROOKS & DUNN Achy Breaky Heart.................... BILLY RAY CYRUS I Feel Lucky................ MARY CHAPIN CARPENTER Chatahoochee ............................. ALAN JACKSON Romeo........................................ DOLLY PARTON Honky Tonk Man....................... DW1GHT YOAKAM Baby Likes To Rock H................... THE TRACTORS Honky Tonk Attitude............................ JOE DIFFIE Line King .............................. SUNSET STAMPEDE Cotton Eye Joe........................................ REDNEX Swamp Thing (Radio Mix) ......................THE GRID Life's A Dance .......JOHN MICHAEL MONTGOMERY My Baby Loves Me................. MARTINA McBRIDE Copperhead Road ........................... STEVE EARLE Cleopatra, Queen Of Denial................. PAM TILLIS Money In The Bank..................... OHN ANDERSON Funky Cowboy ...................... RONNIE MCDOWELL Adalida ...................................... GEORGE STRAIT 1-800 Use To Be........................ LORRIE MORGAN No One Else On Earth .......................... WYNONNA

VIVA LAS VEGAS! (Two CDs) Viva Las Vegas........................... WAYNE NEWTON Mack The Knife ............................. BOBBY DARIN The Lady Is A Tramp .................... TONY BENNETT That's Amore................................. DEAN MARTIN Ramblin' Rose ............................. NAT KING COLE Volare...................................... SERGIO FRANCHI New York, New York...................... LIZA MINNELLI Candy Man.............................. SAMMY DAVIS JR. What Kind Of Fool Am I? ......... ANTHONY NEWLEY Moon River................................ ANDY WILLIAMS My Melody Of Love....................... BOBBY VINTON King Of The Road......................... ROGER MILLER Fever................................................ PEGGY LEE That Old Black Magic...................... LOUIS PRIMA ............................................... & KEELEY SMITH Hello Dolly............................. LOUIS ARMSTRONG Inka Dinka Doo.......................... JIMMY DURANTE Baba Lu ........................................... DESIARNAZ Cuchi Cuchi............................................. CHARO 'Tonight Show" Theme ............ DOC SEVERINSON Danke Schoen ........................... WAYNE NEWTON It's Not Unusual .................................TOM JONES Release Me ............... ENGLEBERT HUMPERDINCK Them from "Exodus" ........................... LIBERACE Downtown................................... PETULA CLARK I Got You Babe ............................ SONNY & CHER Proud Mary........................... IKE & TINA TURNER Knock Three Times ........ TONY ORLANDO & DAWN Going Out Of My Head/ Can't Take My Eyes Off Of You .... THE LETTERMAN Theme from "Mahogany" (Do You Know Where You're Going To?) ............... DIANA ROSS

Do That To Me One More Time ............................. ......................................... CAPTAIN &TENNILLE Swearin' To God........................... FRANKIE VALLI Take Me Home........................................... CHER MacArthur Park......................... DONNA SUMMER Don't Cry For Me Argentina ........... PATH LUPONE The Love Boat Theme........................ JACK JONES My Way............................................. PAUL ANKA

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CLUBQ&A

The Doctor Is In

BY DAVE KREINER

Consultant to the DJs has got the answers.

n the last issue of Mobile Beat (January 1998), I intro duced you to FAQs... frequently asked questions that I hear in my role as a nightclub consultant and music supplier. In the weeks since that issue hit the newsstands, I've received several calls and e-notes from other DJs with mobile, club and music related questions. By all means... keep them coming. That's what I'm here for. Take a look at the latest questions I've received and then give me a call with your comments or questions. My number and web site address are at the bottom of this article. Q. I work in a club that has no marketing or promo tions person on staff. The club owner wants to bring in an outside promoter and possibly take away one of my nights. Any tips on how to handle this situation? A. Many clubs do not have the budget to hire a full or even part-time marketing person. They must depend on the DJ to do both entertainment and promotions. An outside promoter (someone not on the payroll) is usually brought in to help build new business. They can be paid in several ways. Usually a flat fee or guarantee, and/or a possible bonus over a certain level of customers through the door, etc. As with anything, there are pros and cons. A strong argument for a promoter is that a promoter has to make the night a success in order to get paid, which is the ultimate motivator. They will work very hard to make their night successful. The bad side is they have little or no risk (i.e. liquor license, insurance). They also have little loyalty. They could build a dead Tuesday night, and move the whole promotion to another club that may offer more money. It is always best for the club owner to get some thing in writing like a non-compete contract with any contracted labor. I suggest you take responsibility to promote the club and ask the owner for more money when the promotion becomes a success. Do whatever it takes to build business, such as hand out flyers outside of the club and ask for 50 cents to a dollar for every flyer that comes through the door. If I were the owner, I would go with my own DJ and bar staff first. It is up to you to make yourself more marketable, which will enable you to demand more money. Q. My club owner has asked me to start training as a manager. I like DJing but I know that there is a time limit on this type of job. 94

A. Many national chains, whether it's a club, restaurant or any business, will try to cross train their staff. Simply put, cross training is an effort to have current employees learn skills in other areas beside their daily responsibilities. In a bar, a door host may be trained to help a manager do closing procedures, a hostess may be trained to help with promotions and booking parties. An assistant in a mobile company may be trained to handle office and administra tive duties as well as train to become an entertainer. Cross training is important because you are utilizing staff you already feel comfortable with and trust. Over a period of time, you might notice other skills in certain staff mem bers that you can utilize in other areas of your operations. Ask the person if they would like to learn a new skill. You may be surprised. It is very important that you train the trainer. If the teacher doesn't have good teaching skills, correct support materials, or doesn't utilize company policy, your cross training efforts will fail. Q. My club owner won't let me put out a tip jar, what should I do? A. I am an absolute proponent for tipping if it is done with class. It is more acceptable if you don't promote it over the mic or demand it from the customer. A tip jar that is put out in your DJ booth is fine. For a Mobile DJ it is a little trickier. A tip jar at a mobile gig might be perceived as cheap ening your show. "Doesn't he charge enough to pay for his time," "No Class," "He really asked you for a tip?" You can just hear the repercussions from the bride now! In a mobile setting it is more of a service oriented situa tion. As a mobile, I would definitely accept tips, I just wouldn't set out a tip jar. There are always a few excep tions. In a club setting, the customer is already used to tipping. It is almost expected. Also, if you accept a tip for a song, you are committed to play the song in a timely fashion. A mobile gig audi ence may be patient, but clubbers are usually drunk and may bug you to death to play their song. If they are persistent, and you can't program their request into your set, give them their money back. jr Dave Kreiner is owner of The Source DJ Music Supply and Southern California Music, a music supplier and mail order company servicing 12" singles, CDs, remixes for Mobile DJs and Nightclub DJs. To get a free flyer, call (800) 775-3472 or check out their Web page at www. thesourceformusic. com

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REALITY CHECK

BY MARK JOHNSON

is it the next big format?

he beginning of a new year is a common time to reflect on the past year and what it brought us—reflecting on the big groups and songs of 1997 included. You may recall the press labeling The Spice Girls as the next Beatles or Supremes. But when you take the time to review the amount of music that these groups produced in a six-year period, it becomes very obvious that whenever any group is compared to the Beatles, Supremes or any other 60's super group, it's just plain hype. I'm going to bet that The Spice Girls will be no bigger than Debbie (a.k.a. Deborah) Gibson or New Kids on The Block. In fact, 10 years from now, I wager The Bay City Rollers will be considered to have had more of an impact. Could it be that the press just got caught off-guard in 1964 with the Beatles and have been trying to catch up with contemporary predictions? When something seems to duplicate the early ground swell, the press jumps on it and artificially creates the image it's the beginning of a new era.

I DIGRESS? Currently there are five ways we can deliver music" to our audiences: compact discs, vinyl, cassettes, minidiscs and digital audio tape. Most DJs have settled on just one or two of these methods, the most popular being CD and vinyl. A sixth alternative is a hard drive, but that is not yet in wide enough use to be included. Returning to our Spice Girls vs. Supremes compari son, every year industries come up that promise to be bigger and better than what's already out there. The new up-and-coming is the digital video disc (DVD) format, which is creating quite a stir in the home entertainment market. DVD is killing VHS and laserdisc formats with its high resolution video, multi 96

channel, multi-language stereo surround sound. There's speculation that DVD may offer up to four times the capacity of a regular audio CD. Could this be the big thing that knocks the CD from its throne?

A PIECE OF HISTORY Borrowing the phrase "He who ignores history is destined to repeat it," let's take a brief walk back through of the evolution of recorded music. Today, you can still purchase some (not a lot) of music on the original format, records. Whether Edison disc, acetate, polyvinyl chloride or vinyl, it still is an analog recording of music created by a needle vibrating in a groove. Here's my own unofficial time sequence: Thomas Edison's first recording ("Mary Had a Little Lamb") was made on a (phonograph) cylinder in 1877. This led to the invention of the jukebox in 1889. Shortly after the turn of the century, the single-sided, 1/4-inch thick, flat Edison discs, came out and before long Enrico Caruso became the first million-selling artist. The next major development was in the 1920s when the double-sided 78 rpm record was born. This evolved in 1948 to the 33 1/3 rpm LP. Until that point in time, most records were recorded direct to disc with no editing or post production. There was no useful tape or re-recordable medium. Scratchy sounding wire recorders were used for voice recording. In the 1940s, Ampex introduced tape for audio and video purposes. And toward the end of the decade, the first vinyl 45s became available. During the 1950s, 78s gave way to stereo LPs. With the '60s, came consumer interest in home recording. Small, portable machines with 3-inch reels recorded onto 1/4-inch magnetic tape. RCA introduced an early 1/4-inch cassette player with an hour's worth of tape in a convenient package. MOBILE BEAT

Through the '60s, more forms of tape, including 8track, 4-track, tape cartridges (for broadcast use) and various size reel-to-reel players with differing speeds, become available. Late in the decade Philips introduced the standard cassette as we know now it. During the '60s, 8-tracks made listening to music in your car the place to be. But as more and more consumÂ ers concluded that 8-tracks were unreliable and a poor way to record sound, interest in cassettes grew. (The last available titles for the 8-track faded in 1986. Rest In Peace.) Because of their slow 1-7/8* inch per second tape speed, cassettes could reliably store up to 90 minutes of music (the two-hour tapes always jammed). The downÂ side was hiss, wov and flutter. Dolby Laboratories _____________ embraced the cassette concept and set out to improve the sound. The 70s saw the coming and going of Quadraphonic (fourchannel) sound and VHS won the war against its arch video nemesis, Beta. There was also the short-lived Technics El-Cassette, a 33/4 inch per second self_______________ contained reel-to-reel cassette. A short time later, Technics tried to create another recording medium called PCM digital (an early predecessor to the DAT) which recorded onto VHS tape. Nice idea, but no acceptance except from the professionals. Other "bright ideas" of the '70s and '80s included "Nu-Discs" from Columbia Records. These were lower priced 10" albums and single-sided 45s. Both contained only Columbia titles and failed due to lack of retail cooperation. Many labels tried Half-Speed Mastering to increase the quality of vinyl records. High price and limited selection kept this from becoming a standard. Finally, in the early '80s, a joint venture between Sony and Philips resulted in a prototype of the CD. At the time, Philips had long been out of the music software business and Sony hadn't yet purchased Columbia Records. By the mid '80s, variations on the format had already come and gone. Remember the 3" CD single with 20 minutes capacity? Good idea except it required an adapter just like a 45 rpm vinyl single. CD-5 replaced it as the CD single format while cassette singles (cassingles) were taking a big bite out of the sale of vinyl 45s. During the mid to late '80s, DAT came out as the tape version of CDs. With digital sound and quick cueing (still linear, but the first tape format to have time

codes), DAT quickly caught on in the professional world, but not at the retail level. With Sony's purchase of Columbia Records, the hardware giant acquired a huge catalog of proven artists' works and significant future holdings in current artists including: Bruce Springsteen, Neil Diamond, Barbra Streisand, Michael Jackson and Billy Joel. Enter the '90s. Sony comes out with the minidisc backed by a reasonable number of catalog titles and a smattering of current titles as pre-recorded minidiscs. But no other label plays into Sony's hand. RCA (BMG), Capitol (CEMA), Warner Brothers (WEA) and virtually all other competing labels ignored MD. In 1994, the annual ______________ sales of cassettes exceeded sales of vinyl albums. Clearly, vinyl was on its deathbed. By 1995, CD recording had come out of the $20,000 studio and into the $2,000 consumer world with units from Denon, Marantz and Pioneer. By 1997, CD recording using a PC became available for just $500 and the first reÂ writable CD recorder appeared on the horizon.

The jukebox was first used in

the 1930s. The name "jukebox" got its name from the African

word, "jook," which is slang for dancing and partying.

The DJ Magazine

WHAT NEXT? Is there a format that can replace CD? Is it DVD? I see DVD as a new form of high density music playback like the CD. The future, however, doesn't happen overnight. Rather, it must first survive the hype and hoopla of a product's announcement before it can become a significant player. I'm reminded of how Wall Street went wild when Radio Shack announced their first CD recorder. The product never made it to the shelves. Like it or not, we exist in a society where journalists can have quite an effect on what they're reporting. Advertisers also have a lot of pull by spending money to promote new products or technologies. So when someone gets on their soap box and proclaims that DVD is the format the world has been waiting for, they are really just making sure that, if DVD hits big, they will be on record as an early supporter. The bottom line is, as a DJ, there is really only one format to embrace for the foreseeable future and that format is the reigning tag team of the CD and recordable CD. > * the standard for broadcast quality sound was 10 inches per second.

REGISTER DJ CONVENTION HERE! June 8,9,10 1998 This form should be used for registering by fax or mail. One form per person please. Copy this form if additional copies are needed.

REGISTER YOUR WAY ^ Phone: 502-266-0155 & Fax: 502-267-8786 ® Email: mdshow@partypros.com 0 Mail: P.O. BOX 99601, Louisville,KY 40269 *9 Our Website: www.partypros.com/djshow/ NAME

AGE

COMPANY NAME

YEARS IN BIZ

STREET STATE

CITY

ZIP-CODE

TELEPHONE EXP. DATE

CREDIT CARD*

CARD HOLDER'S NAME (PLEASE PRINT)

June 8-9-10 Monday-Wednesday

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Executive West Hotel Louisville,Kentucky

CARD HOLDER SIGNATURE

TOTAL AMOUNT ENCLOSED OR CHARGED

Full Access

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Advance Registration Price ($20 at the door) Includes Exhibit Hall Only

Return Registration form to: Mid-America DJ Convention P.O. BOX 99601 • Louisville, KY 40269 Telephone: 502-266-0155 Fax: 502-267-8786 • e-mail: showinfo@partypro.com

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BY ART BRADLEE

You need good phone etiquette to close the sale. During January and February, most Djfs spend less time on the road and more time on the phone. With many recently engaged couples preparing to book for spring and summer weddings, now's the time for you to brush up on your "Telly Techniques."

he reason we advertise and promote our services is to get potential clients to call us on the phone. If you don't know what to say once they call, all your promotional dollars are wasted. What we say and how we say it determines whether or not we get the booking. Remember, you never get a second chance to make a good first impres sion. Start with answering every call with a smile on your face and genuine interest in your voice. Regardless of how bad a day you might be having, you must instantly get over it the minute you pick up the phone. You: "Good morning, (company name). This is (your name). How may I help you?" Bride: "Hi. I'm getting married. Do you do receptions and how much do you charge?" You: "Congratulations on your engagement! Wedding receptions are our specialty. What is the date of your reception?"

Never quote a price for your services up front. If she perceives your fee is too high, you won't even get a turn at bat. If she thinks you are too low, she'll wonder why. In either case, if you quote a price up front, she'll not hear another word you say. You need time to tell her what makes the price of your services worthwhile. Bride: "I'm getting married on May twentieth." You: "Where will your reception be held?" Bride: "At the Ramada." You: "They do a fabulous job!" Bride: "Oh, you've been there?" You: "At least a couple dozen times last year alone." Bingo! Now the bride knows you're familiar with the facility and you have reaffirmed her choice of location, making her feel terrific. Her next conclusion is, naturally: If they were at the Ramada that many times, they must do a lot of receptions everywhere. This enhances your credibility. You: "While I check our availability for May 20, let me tell you a little about us, what we do, how we do it, and how you can book that date today if you wish. "I'm sure you know that the entertainment is the most important part of a wedding reception. The flowers will

100

look and smell great; the food will be terrific. But, other than how beautiful you'll look on your day, it is the enter tainment that everyone will remember. I hope that when they leave your reception, they won't be talking about the roast beef, but about what a terrific DJ service you had. "Let me give you a brief description of how your reception will go. Your DJ entertainer will arrive at least one hour early, impeccably groomed and attired. We provide all the sound and lighting equipment. Our music library, pre-big band era right up to what is popular today, is second to none. Our DJs know how to break the ice and get your guests up and dancing. Whether you want us to be the life of the party or just provide excellent music that you select; we accommodate your thoughts on how you want your reception to be. These are just some of the things to discuss in more detail with you and your fiance approximately one month before your big day."

Now pause. Give her a minute to digest what you just told her, but not long enough for her to start asking ques tions. You: "I've checked our schedule and we do have some availability for May 20."

Emphasize the word "some," implying that she should book now or you'll soon be totally booked. You: "Our fee, which is based on four hours of nonstop entertainment, is only $__." Always use the word "only." It makes it seem that your fee is really a bargain considering the quality of your services offered. If the going rate is $300 in your area, quote her $299. There is a world of difference psychologically. You: "We work by contract and ask for a deposit of $100, which is due when you return the signed contract. The balance of our fee, less the $100 deposit, is due when your DJ entertainer arrives at the reception. Would you like me to send you a contract for you to look over?" Don't say another word even if it takes her six days to answer you. She'll either agree to have you send a contract or proceed to give you one or two of the 16,976 reasons why people want to shop around. If she wants a contract, get the necessary information (address, phone number), wrap it up and move on to the next caller. If she wants to shop: 1) Don't take the rejection personally. 2) Don't change the tone of your voice. 3) Do offer to send her your packet of information designed specifically for brides- and grooms-to-be. MOBILE BEAT

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CALL TODAY FOR 1997 CATALOG 1 • 800 • 528 • 5599 If you are as good as you are trying to convince her you are, you'll already have a great promo package, that includes a cover letter and letters of reference from satisfied clients, banquet facilities and caterers. Bride: "Yes, please send me your information." You: "My pleasure, let me get some information from you and I'll get our bridal information packet out to you immediately. I'll then call you in five or six days to make sure you have received it and to see if I can answer any of your questions. I think you'll be suitably impressed with our promotional package. By the way, how did you hear about us?" (You spend money every day to make that phone ring, always ask where they heard about you. Track the calls and eliminate those sources which are not getting your phone to ring). You: "Thank you for calling and, once again, congratulations on your engagement to be married." It is done almost identically every single time. The secret is to never sound as if it's a rehearsed bit or a taped message. Never sound bored. The sound of that phone ringing leads to the sound of the cash register ringing! We all love to entertain, but isn't that the bottom line? Art Bradlee, former DJ service owner with over 27 years experience is presently Sales Manager for Mobile Beat. He is owner ofAmerica's Best Mobile Entertainers' Consulting Service. His web site is bttp//:home.eznet.net/~mblencon Reprinted with permission from Spinnin' 2000: The Ultimate Guide To Fun and Profit as a Mobile Disc Jockey (1997 revision), written by RobeitA. Lindquist and Dennis Hampson. To order: send$19.95plus $3 S/H to Spinnin'Pro DJ Products, P. 0. Box 5, East Rochester, NY 14445. JL

The DJ Magazine

What's Keeping You'i Dave & Amanda Anderson affiliated with AMS in March of 1997 and have this to say about the program: "Why waste time and money developing programs which AMS has ready to go today? The comprehensive program emphasizes quality, as well as quantity, and gives you the training tools you need to run a multi-system operation without compromising superior service. AMS has allowed us to take a hobby and turn it into a full-time, reliable source of income."

Dave & Amanda Anderson

AMS-Little Rock/Formerly D]s Unlimited

"We're growing faster than we ever imagined!" Busy in January? If you are not as busy as you would like, stop by the AMS booth at the Mobile Beat Convention and see why our owners have business year-round. We can show you how to make the DJ business a full-time venture.

For more information on what AMS can do for you, call now:

(800) 788-9007 Financing Available

101

IN SEARCH OF THE BEST SOUND & LIGHTING SYSTEMS ON EARTH

KYil.KTAIYMl.-.r •B-r.T.'SvI'E^TT

r someone who didn't know >vhat he wanted to be when he jrew up, Charlie Petrach, owner of Cap Entertainment, has done all right for himself in his hometown of Racine, Wise. It began when he was in high school. Petrach, who was active in various clubs and organizations, was "picked" to DJ or emcee whenever the situation arose. Little did he know at the time that his future was beginning to unfold before him. Not long after, he decided to answer a help wanted ad for a DJ and seven years later... bought the company.

IT DIDNT HAPPEN OVERNIGHT Not even while Petrach was working as a DJ did he suspect it would become his career. He went on to attend the University of WisconsinParkside, and graduated in 1993 with a degree in International Relations and Communications. After college he continued to DJ part time, while working full time as customer service coordinator for

102

BY RENEE LASSIAL

Golden Books Entertainment. "I wanted a career where I could interact with people, have a flexible schedule, have a responsible position and earn a decent salary." Once he figured this out, he knew that owning an entertainment company was what he really wanted. Petrach left his full-time job and his DJ job at Enjoy!! Inc. to work at BWI on the East Coast. It was here that he was exposed to large screen video dance parties. "I liked the experience of a big video party and the crowd reaction that it got," Petrach says. In 1991, Petrach moved back to Wisconsin and started up his own part-time company. His previous employer, Enjoy!! Inc. was now his competition—but not for long. "In 1996, after I had been running my business full time for about a year, I heard Enjoy!! Inc. was being sold," Petrach says. So, at age 26, he bought the company, name and all. "Running the business with two different names didn't work well after a while,

because we were in competition with ourselves!" Petrach says. So in 1997 he had one of his DJs take over the Enjoy!! Inc. business, located in Twin Lakes. "This worked very well," Petrach says, "because Twin Lakes is far enough away to be a separate market, but we are still close enough to give each other support." For Cap Entertainment, offering video packaging was the obvious choice. "I already had the video experience and found out there were no other companies in Wisconsin that offered video, and only a couple in Illinois. This was a market just starting to grow (in the early '90s). We started doing video dance parties at schools and soon adapted them for weddings." Cap Entertainment is conve niently located between Milwaukee and Chicago, 111. Positioned within a two-hour driving radius of 10 different area codes; the scope of marketing possibilities is endless for the company. "The southeastern Wisconsin area is where we do most MOBILE BEAT

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IN SEARCH OF THE BEST SOUND & LIGHTING SYSTEMS ON EARTH of our business, but we have always done a lot of school video parties in the Milwaukee and Chicago area. Starting in 1998 we will be a larger force in the wedding and special event market," Petrach says proudly. To help in promoting their business, Cap Entertainment mails a very attractive and professionally designed promotional flyer to pro spective clients. It includes the company's services, how

Funn Mixx Video Party Audio 2 Panasonic DVD A-300 CD/VCD/ DVD players 1 Panasonic hi-fi stereo VMS player 1 Atus AM500 stereo mixer 2 QSC ISOOa power amps 1 QSC 1400 power amp 1 Rane crossover 4 EV S1803 full range speakers 2 MTX S115 subwoofers 2 15" 2-way EVs by Sonic 1 Audio Technica ATW-R10 wireless handheld microphone 1 Panasonic portable SLVP-300 CD/ VCD/CDG player

Video: 2 Eiki LC-300 video projectors 2 Da-Lite 9'xl2' rear projection video screens 1 Videonics digital video mixer 1 Panasonic 13" color video monitor 1 Panasonic Pro-VMS video camera

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Misc. 8 Ultimate Support stands Equipment racks by Sonic Equipment /Music cases by Loon Industries Over 1,500 music videos on VMS, VCD and DVD formats

104

to reach them and client references.

THE BIG PICTURE Cap Entertainment performs at various functions, including park and recreation department events. They also rent their equip ment to halls and businesses. For school events they offer the "Funn Mixx Video Party." This package offers one to three large video screens, two to three VJs, lighting, fog, effects, sound and, of course, a DJ. Clients can go for the whole package or just what they can afford. A nice feature the company offers for their wedding "Video Party" package is replaying the wedding ceremony at the reception on the big screen. As guests can't always make it to the ceremony, this feature pro vides the opportunity for them to see what they missed. After the recep tion, Petrach gives the bridal couple a video tape of the "highlights" of their reception, which includes the bride and groom's first dance, bouquet and garter toss, etc. Cap Entertainment currently employs 12 DJs, VJs and MCs. Petrach's wife, Rachel, also works for the company as a DJ and office support. Their inventory of systems includes two Funn Mixx systems, two "Video Party" wedding systems and two DJ systems. Their music is available on VCD and DVD. "For now, our goal is to stay a mid-sized company. We will be transferring two more of our DJ systems into video systems over the next year, but keep the same number of systems," Petrach says.

NOTHING'S PERFECT As successful as Cap Entertainment is, not all their events go off without a hitch. "We do a large event every year," Petrach says. "It is a local post

prom in Racine, Wise. The prom runs from 9 p.m. to 5 a.m. and consists of seniors from all area high schools (2,500-3,000 attendees). It is a 'high pressure' event because of the number of people there, and they televise the event on local cable with over 100,000 viewers each year. "The event usually consists of a three-DJ video party with three big screens, concert sound system, extra lighting and effects, and other attrac tions like: Orbotron Ride, Karaoke, Magician, Hypnotist, Velcro Wall, or other ideas—all presented by us." You would think that something this huge would leave large holes for gross mistakes; but this event, Petrach says, "is... not the most difficult." Where they do have problems is at a weekly contract with a local college which offers a free DJ dance party to all students (2,000 plus). Typically, when the weekend comes, college students are looking to party hearty but a dance party usually isn't their first choice. As a result the crowds have been sparse. "When we get a small crowd, it is hard to keep them going. We have tried different theme nights, request nights, club nights, and even video dance parties. Same response," Petrach confesses. In Petrach's defense, we've heard the same comment from other DJs in various parts of the country. Apparently, when the weekend hits, college students would rather do their partying off-campus (where the beer is). While that just proves you can't be all things, to all people, all the time, Petrach seems to do a pretty good job at it in his corner of the upper midwest.

IN SEARCH OF...

YOU!

sy*\ //iVj If you would like to be profiled in Mobile Beat Magazine's

"In Search Of," send a letter telling us about your company sand some profesaonjlhotos of you and your sound & lightfdjJieat Magazine P.O. Box 309 • East Rochester, NY 14445-0309

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The DJ Magazine

BY ROBERT TAYLOR

SING-ALONG ESSENTIALS

Karaoke's Finest Hour H

ere in Southern California, if you want to know where to go for karaoke, you pick up the latest edition of Karaoke Scene. Along with being the area's top source for sing-along entertainment, Karaoke Scene plays a big part in promoting the karaoke concept by sponsoring the annual Karaoke Fest (co-spon sored in part by Vocopro). Karaoke Fest is great entertain ment, for both spectators and participants. It is undoubtedly the country's largest single-day karaoke competition. Those who make it to the stage are among the best KJs and singers in the southwest. The most recent event was held at Pharaohs Lost Kingdom in Redlands, Calif, on October 19, 1997. The grand prize included a professional karaoke sound system. The KJs selected to compete (by their individual clubs) were no less than amazing. Each was given about 15 minutes to demonstrate their style. The contest winner was based on his or her ability to win over the audience. The audience included singers, hosts and spectators who enjoy watching and listening to karaoke. For me, the Fest was a chance to pick up new ideas and twists on ways to revitalize old ideas. Even small additions that you bring home can add tremendously to your perfor mance and, in turn, add to your bottom line. Not since last year's Mobile Beat DJ Show & Conference

108

had I had a chance to network and swap thoughts with so many excellent and experienced KJs.

THE ENVELOPE PLEASE This year, the top honor of "KJ of the Year" went to Jim and Betty Bean, the owners/operators of J & B Music and Entertainment. Together, they share a love for music and singing, so karaoke came naturally. They started out with a handheld system purely for fun, but soon their hobby expanded as they added amps, discs, lighting and songbooks. They now perform regularly at The Club at the Royal Lounge in West Coving, Calif. They lead theme nights and contests including Dolly Parton, Elvis and '70s Disco Nights. On stage at the Fest, Jim and Betty had no idea what to expect. Their motivation was to have fun. It was almost 10 p.m. when Betty came on stage in front of a packed crowd. Meanwhile Jim (a retired police officer) and some loyal patrons from The Club passed out hundreds of

small bicycle horns (a regular part of their act). The lights were flashing and flooding the stage as the two lead into their 15-minute show. The judges could not help but feel the same energy the crowd did. After a brief intro, they broke into We Shall Be Free by Garth Brooks and the crowd loved it. After that, they introduced an incredible singer, Karen Kobb, who won third place for the "Creme De La Creme" singers with Last Dance by Donna Summer. What came through most during Jim and Betty's performance was their sincerity. They really made the audience feel important and chose a song that had meaning. Rather than concern themselves with winning, they simply went out to have fun. They love what they do and the audience felt their energy. They have since been promoted to five nights a week at The Club and say they will continue the show until it's no longer fun.

SILVER AND BRONZE Second place KJ honors went to Regi Perry. He and wife Jean lead a popular sing-along show regularly at Shakey's Pizza in Los Angeles. Candace Klewer, who hosts at several clubs in Southern Calif.'s inland empire area, was the third place KJ winner. This was her third time competing in the Fest, which says something about her skill level. She loves music and saw karaoke as an avenue for fun and a way to make

MOBILE BEAT

a living. "What better way to make a living than at something you truly love doing," she says. Candace observed that, "As time goes by it seems more and more of my audience members are specta tors." These people come strictly to watch the per formers and have no intention of singing. The quality of performers at her clubs is so good that audience members love just to watch them. She believes that karaoke has just begun to see its potential in the states. So where is karaoke going? Upwards, especially since it continually gets better and more popular. In L.A. we will be forming an association soon for karaoke jocks to discuss such topics as profitability and insur ance. The next Fest will be even bigger, better and

more fun with more competition. Come see it for yourself! Your profits are determined only by your willingness to create and work hard on your creations. Go with your instincts and let it flow. Karaoke has grown up in the last four years and it's going to get more eclectic and interesting as the talent becomes more organized. Few have done the club thing as successfully or as in depth as these KJs plan to. I agree with them 110 percent. I see the same karaoke dream brightly shining and I wish them all luck. These people are pioneers. They are just now realizing the future and where it is headed. You can hop on the train, too. Tickets are going fast to folks who share the dream. Come on and ride the train!

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The DJ Magazine

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1. Hava Negilah (Israel) 2. Hukilau (Hawaii) 3. Irish Jig Medley (Ireland) 4. American Folk Dance Medley (United States) 5. D'hammerschmledgselin (Germany) 6. RythmsoftheHighlife (West Africa) 7. Aluneiul (Romania) 8. El Jarabe Tapatio (Mexico) 9. Bu Bu Jiao (China)

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1 . Butterfly Kisses 2. Butterfly KiSSeS (Abridged Version)

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All of these wedding favorites have been edited and remastered to ensure their APPROPRIATENESS FOR ALL RELIGIOUS AND ETHNIC BACKGROUNDS.

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The Complete Jewish Party CD Horas & Traditional Jewish Party Songs The Complete Latin Party CD All Your Favorite Latin Dances The Complete Novelty Party CD Novelty Songs & Sound Effects The Complete Traditional Party CD Traditional Dances & Wedding Music The Complete Specialty Party CD All Your Favorite Specialty Dances The Complete Grand Entrance Party CD Grand Entrance Music for All Occasions The Complete Classic Party CD Hard to Find Classic Party Songs The Complete Cocktail Party CD 72 Minutes of Mixed Cocktail Music The Complete Miscellaneous Party CD Wide Assortment of Misc. Party Songs

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Bobby Morganstein Productions "How-To" Videos VD 1

THE BAR/BAT MITZVAH BASIC PRODUCTION VIDEO How to Prepare & Run a Bar/Bat Mitzvah VD 2 CONTEST VIDEO All you need to perform all the Basic Party Contests VD 3 THE BAR/BAT MITZVAH FULL PRODUCTION VIDEO A Behind-The-Scenes Look at the "High End" Affair VD4 THE PARTY DANCES VIDEO 15 Dances, 5 to teach staff, and 10 to teach the guests

VD 5 THE BAR/BAT MITZVAH "PARTY DEMO" VIDEO This is a demostration video that our MCs and DJs use to assist in selling our Bar/Bat Mitzvah Production Packages VD 6 THE CREATIVE GAMES VIDEO This one-of-a kind video tells you everything you need to know to perform the hottest new creative games, from the industry's most successful disc jockeys INT THE INTERACTIVE VIDEO VD This companion to the Interactive CD will teach you the hottest party dances of yesterday and today.

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TO ORDER CDS CD 1 and CD 2 ............ .ea. *22°° CD 3 thru CD 9 & CD 11 thru 18 . .ea. $280° CD 10 (2 CDs) ......... . . . . .set *35°° INT. CD & CD 19 ........... .ea. *15°° SPECIALS BUY ANY 4 BMP CD'S & GET ONE . . .FREE BUY ALL 16 CDs ............. .$325°°

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He . .............................. .............. Label .................... BPM Twisted 132" Drama ................................ DV8 128' 3RD PARTY. ................................ ..................... My Love Is ADve ....................... JANET JACKSON ......................... ..................... Got Til It's Gone ....................... ................ Virgin ......................... 90' ................ Strictly Rhythm .......... 125* ULTRA NATE .... _______ CYNDI LAUPER .. _____ ..... ..................... Ballad Of Cleo & Joe ................ ................ Epic ........................... 1ST SUNSCREEM .............................. ..................... Catch ...................................... ................ Pulse 8 ...................... 14? VICTOR CALDERONE ................... ..................... Beat Me Harder ....................... ................ Bghtbal .................... 13IT CLUB 69 .................................... ..................... Much Better ............................ ................ Twisted ...................... 129' ... 12T DEBORAH COX ........................... ..................... Things Just Ain't The Same ....... ........ Arista 123' SANDY B.. .................................. ..................... Ain't No Need To Hide .............. ........... Champion .. .... Arfct ............. CLUB 69 .............

JOICARDWELL ........................... ..................... Run To You ............................... ................ EghttaH ....................124' AQUA .................................... ..................... LolDpop (Candy Man) .............. ................ MCA .......................... 14? MARTHA WASH &RU PAUL .......... ..................... Ifs Raining Men... The Sequel ... ................ Logic .........................134' ASCENSION .. ............ ..................... Someone ................................. ................ Perfecto .................... 136' FULL INTENTION ......................... ..................... Shake Your Body ...................... ................ Sugar Daddy .............. 126' NO MERCY ............ ................... ..................... Kiss You All Over (Remixes) ...... ................ Arista ........................126' MADONNA ................................. ..................... Buenos Aires (DJ Promo) ......... ................ Warner Brothers ........ 128 ................ Perfecto .................... 125' BT .................................... IE CLICK ................................... ..................... Don't Go ................................. ................ Logic / RCA ................ 130 / 124' ALEXIA .................................... ..................... Number One ............................ ................ Popular ...................... 132 / 14? KIM ENGLISH ............................. ..................... Learn 2 Luv (Remix) ................ ................ Nervous ..................... 125* ............. flttontic .......... ..130' Reasons For Living DUNCAN SHEIK ..........................

17 IS 19 20 21 22 23 24 25

HARIAH CAREY .......................... ..................... Hoeney (Remix) ....................................... Columbia ...................128' BACKSTREET BOYS ..................... ..................... As Long As ftu Lvoe Me (Remixes) ............ Jive ........................... 124' ..................... Spice Up Your Life (Remixes) ._................. Wrem _......_.„............ 125" SPICE GIRLS

26 27 28

CAPPELLA .................................. ..................... Be My Baby ............................. ................ Interhrt ...................... 13T Ariola 127" DJDERO The Train SASH' .....................Stay........................................ ............... Ultra .......................... 130'

29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46

BROOKLYN BOUNCE .................... ........... _ ....Get Ready To Bounce ................ ............... Edel ........................... 133" SHE MOVES ................................ ..................... Breaking All The Rules ............... ................ Geffen ....................... 12T JANET JACKSON ......................... ..................... Together Again ......................... ................ Virgin ......................... 126' AMBER .................................... .....................One More Night ....................... ............... Tommy Boy ................ 122 / 127" 125" BYRON STINGILY ......................... ..................... Sing A Song (Remixes) .............. ............ Nervous .......... FRANCE JOLI .............................. ..................... Breakaway .................. ......... ................ Popular ...................... 129' DAFT PUNK ................................ ..................... Around The World ..................... ............. Virgin.............. ....12T Like A Star ............... Tommy Boy ................ 128 / 12? CYNTHIA .................................... FEU7JA .................................... .....................Samba De Janeiro ..................... ............... Tommy Boy ................135' ROZALLA ................................... ..................... Don't Go Lose It Baby ............... ................ Popular ...................... 126' MOBY _ ............................. ..................... James Bond Theme ................... ................ Bektra ...................... 120' AQUA ..................................... ..................... Barbie Girl ................................ ................ MCA ..........................130' DJ SUPREME ............................... .................... Ina Wildstyle ............................ ............... Interhit ...................... 138' MCA 91' MARY J.BLJGE ............................. .................... Everything

47 48 49 50

SNEAKER PIMPS .......................... .................... Spin Spin Sugar (Remixes) ........ ............... Virgin Underground .....129' SASH! f/ LA TREC ........................ .................... Ecuador ................................... ............... Ultra .......................... 136' . ... Big Bans/ Import 125' ROSIEGAINES ............................. .................... 1 Surender .................. ALLURE

.................... All Cried Out (House Mix) .......... ............... Crave ........................120 131' STRETCH NVERN ......................... .................... Get Up...Go Insane .................... ............. Grandslam ..... UNDA EDLER .................... Something To Believe In ............ ............... AUanfic ..................... 12? MAW ..................................... To Be In Love ............ MAW ............. . .122 BOYSTOWN GANG ........................ Disco Kicks ............... Ariola Dance ........... ...133'

120

Abracadabra 17 Ac-cetera 73 American DJ 3, 124 (BC) American Mobile Sound 101 Audio Climax 54 Azden 50 Bag End 19 Bobby Morganstein Productions 116-117 Breakthrough Marketing 8 7 BST 122 Celebrity 63 Chauvet Colorado Sound N' Light 81 89 Complete Music Core Systems 45 123 (IBC) Crown 87 Customware 29 Denon DJ Power 82 69 DJ Warehouse DK Karaoke 95 119 DMA Magazine 5 ETA 39 ETI Farralane 77 66 Gem Sound 2 (IFC), 35 Gemini 53 Greg's Pro Audio 99 Grundorf 47 H &F Hot Hits 86 75 Island Cases 55 KAM 106 Karaoke Etc. Kart-a-Bag 41 51 KLS Lightcraft 18 23 MBT International MidAmerica 98 20 Mobile Beat DJ Show 15 MTX 13 Music Factory 88 NAME 107 Needle Doctor Numark 11 83 Odyssey Omnisistem 59 Pacific Supply & Trade Co. 14 Pinto Novelty 71 Planet DJ 77 Planet Karaoke 109 Pro Sing 93 65 ProSound & Stage 37 PSWCDT Music Guide 31 Pyramid 27 QSC 101 Rl Novelty Rising Electronics 91 61 Rondo Severe Sound 48 61 Sherman Specialty 33 Sonic 103 Sound Choice Sound Ideas 69 Spinnin' 2000 107 Stanton 38 Starr Karaoke 115 9 TopTone Mobile Beat Top 200 CDs 105 43 Tracoman/Vestax Univenture 109 Upstairs Records 49 VocoPro 79 Wells Cargo 57 Western Starlite 85 X-Mix 90

MOBILE BEAT

BY OWEN B. KANOBI

NIGHTMARES & HISTORIC AFFAIRS

Gentleman to a fault Some days it just doesn't pay to do the honorable thing. ^^ jT TTien I booked a child's sixth birthday % /\ I party, I envisioned a piece of cake. I V T didn't expect them to feed me cake; I just assumed that catering to a small group of children would be relatively easy. After all, I'm a lot taller than most six year olds. And I'd like to believe I'm a bit smarter than the average kindergartner. After that job, however, I wasn't so sure. The day came and I was ready for it. I was well-rested, with plenty of vim and vigor for entertaining the exuberant youths. I had all the right props and music selected for such an event. Most importantly, I remembered a bottle of aspirin. I even wore decent but sensible clothing and shoes. I was ready for anything... I thought. The party took off without a hitch. The teeny hoppers were having fun. I felt sorry for the mother of the birthday girl—she was handling everything herself—so, gentleman that I am, I tried to aide her in entertaining the troops. Everything was going pretty well. Halfway through, I noticed the birthday girl was standing under one of the trees in the yard and was looking up into it and crying. Her mother and I went over to see what was wrong. We discovered that the kitten she had just been given for her birthday had scrambled up the tree and couldn't seem to get down. This is where being a gentleman can get you into trouble. Being a father with a little girl of my own didn't help either. I couldn't bare to see the child cry, so I offered to climb up the tree and rescue the 10-week-old fur ball. Fortunately I was wearing clothing that had enough give for such a feat. I scrambled up the tree, wondering who I was trying to impress. I finally made it to where the kitten was but it didn't seem that happy to see me. It kept inching away and I kept inching over, trying to get it in my grasp. I was reaching further,

The DJ Magazine

just a little further and then... I was falling! The next thing I knew I was on the ground, but all I could feel was the throbbing pain in my arm. When my vision started to clear I saw the little girl standing over me. She wasn't crying anymore; in fact, she was smiling. But what really caught my attention was the kitten in her arms. The mother explained that right after I fell, the kitten slid down out of the tree all by itself. She asked me if I was all right and would be able to finish the party. I assured her I was fine (gentle man to a fault). So for the last hour I fulfilled my responsibilities in considerable pain. Packing up my gear was tough because my arm had become quite swollen. I wasn't sure if I broke it or not, but I knew my next stop was the hospital.

121

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